| 1 |
@@PROCESS
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| 2 |
443 and 444. Pair of door-handles
|
| 3 |
in the form of fishes
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| 4 |
11.2 cms. (length of each handle)
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| 5 |
Brass, highly polished but the backplates against the walnut door
|
| 6 |
frames with a dark brown natural patina.
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| 7 |
Attached to, probably made for, and possibly designed for, the
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| 8 |
walnut panelled interior doors of the Hill Music Room, which were
|
| 9 |
designed 1938 and completed 1939.
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| 10 |
In July 1936 Alfred Hill of the firm ofwilliam E. Hill and
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Sons, then of 140 New Bond St, approached the Vice-
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| 12 |
Chancellor with the idea of presenting to the University the
|
| 13 |
celebrated collection of early musical instruments which he
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| 14 |
had formed with the help of his brother Arthur. The Curators
|
| 15 |
of the Bodleian Library had decided by early 1937 that they
|
| 16 |
could not find a suitable space, but the Ashmolean Museum
|
| 17 |
was interested and had allocated the Sladc lecture room to
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| 18 |
receive the collection by the summer of 1937 (a new lecture
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| 19 |
room was created below the Draper's Gallery, then being
|
| 20 |
planned). In October Alfred Hill first suggcstcd Allom as
|
| 21 |
architect for the conversion of the room. Hc did so on the
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| 22 |
recommendation of F. H. H. Romaine Walker who was too
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| 23 |
ill to take on the job himself. Allom was the `leading decorator
|
| 24 |
here and in New York'-also a noted yachtsman and golf-playcr.
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| 25 |
Hill's first idea was for a panelled `Georgian' room
|
| 26 |
and Romaine Walker had dreamt of recreating the setting of
|
| 27 |
an eighteenth-century conversation piece, but Allom, whose
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| 28 |
designs were probably made after the official acceptance of
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| 29 |
the gift in June 1938, wanted to create something Italian for
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| 30 |
what was a largely Italian collection. The plaster frieze which
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he supplied, consisting of shields set in scallopcd tondi and
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swags between with dainty fluttering ribbons, has a Florcntinc
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| 33 |
quattrocento flavour. Nothing remains of his original colour
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| 34 |
scheme except the remarkably accomplished imitation of pc7ide
|
| 35 |
¢"f¢.co for the skirting, but origivally the door frame, and
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| 36 |
perhaps other features, were coloured to resemble P¢.e£7t¢
|
| 37 |
Jcye"¢. The design of the door frame caused considerable
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| 38 |
acrimony. Allom wanted to give it a pediment inspired by one
|
| 39 |
on the Pazzi Chapel. Parker felt that this was inappropriate
|
| 40 |
and the Kcepcr of the Museum, E. T. Leeds, put the case
|
| 41 |
against the pediment in a letter to Allom of 5 October. Allom
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| 42 |
replied with assurances of his extensive study of Italian art: `1
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| 43 |
know I am right'-nd moreover Mr Hill liked his door.
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| 44 |
Cockerell's architecture was Greek, Allom was reminded. But
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| 45 |
Allom was able to point out that Cockcrell's work had many
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| 46 |
Italian Renaissance features. By the end of the month the
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| 47 |
Visitors had rcjccted the pediment. The door itself is a
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| 48 |
handsome if conventional design and made of splendidly
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| 49 |
figured walnut. The stylized dolphin-like fish used for the
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| 50 |
entirely modern handles were as popular in Greece in the fifth
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| 51 |
and fourth centuries BC as in Italy in the fifteenth and
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| 52 |
sixteenth centuries AD. They would certainly have met with
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| 53 |
Cockcrell's approval and seem not to have excited any
|
| 54 |
disapproval within the Museum. But then the war interrupted
|
| 55 |
the whole debate and by the time the Room was officially
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opened in 1950 Allom was dead.
|
| 57 |
BRITISH SCULPTURES, BY ARTIST'S NAME
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| 58 |
Galizia foundry, Chatficld Road, Battersea, Ijondon
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| 59 |
After Kenneth ARMITAGE CBE (b. 1916)
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| 60 |
@@PROCESS
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445. The Bed
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| 62 |
11.8 cms. (height); 21.4 cms. (length)
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Bronze with a uniform black patina. I.ost-wax cast, the fuller foms
|
| 64 |
open below. Incised in the model at the lower edge of the taller
|
| 65 |
vertical element `2/6' and `65 KA'.
|
| 66 |
From the collection of Christophcr Hewett ( 1938-83) given to the
|
| 67 |
Museum by his family in June 1985 and included in the exhibition
|
| 68 |
celebrating the dft held in the MCAlpine Gallery in January and
|
| 69 |
February 1987 (no.12 in the catalogue). A charcoal drawing and a
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| 70 |
photo-etching by Armitage were also included in the gift to the
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| 71 |
Museum. Three drawings and two sculptures by him from Hcwctt's
|
| 72 |
collection were presented at the same time to the Henry Moore
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| 73 |
Centre for the Study of Sculpture at Leeds City Art Gallery.
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| 74 |
Armitage had exhibited at Hewett's Taranman Gallery in 1982.
|
| 75 |
The sculptor explained that this sculpture origivated in the
|
| 76 |
spectacle of a friend crossly burying her head under the bcd-linen,
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| 77 |
thus inadvertently exposing her buttocks. `Thcre were
|
| 78 |
two different versions of this tiny piece but similar in size.
|
| 79 |
Thcrc was also a very much bigger version in white fibre-glass.'
|
| 80 |
It was cast in an edition of six in 1965. The theme of
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| 81 |
combining human forms with furniture is found in other more
|
| 82 |
recent work by Armitage such as his three bronze Cf7¢¢.7tf (of
|
| 83 |
1981; nos.1-3 in the Taranman exhibition of 1982, where
|
| 84 |
au arc mustrated).
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| 85 |
BRITISH SCULPTURES, BY ARTIST'S NAME
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| 86 |
Perhaps after Thomas BANKS ( 1735-1805)
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| 87 |
@@PROCESS
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446. Contemplation (Pudicitia)
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| 89 |
42 cms. (height including integral base of 2.4 cms.)
|
| 90 |
Plaster. White discoloured to grey. Hollow cast. Some small chips
|
| 91 |
missing from head and back of base. The hollow containing a label
|
| 92 |
inscribed in pen `Presented by the Misses Bullock-Webster 1916'
|
| 93 |
and the base itself pasted with two paper labels inscribed in pen in
|
| 94 |
a hand of c.1900 `Contemplation. / modelled by / Thomas Banks.
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| 95 |
RA. Sculptor/Born 1735 Died 1805' and `a friend of gt.
|
| 96 |
grandfather / and mother Edward & Rachel Webster / and given to
|
| 97 |
them by him / with other models and medallions / which were not
|
| 98 |
kept.' (The name is not certainly Webster.)
|
| 99 |
Given by the Misses Bullock-Webster,1916 (A""#¢/ RcPo# ( 1916),
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| 100 |
14).
|
| 101 |
The plaster came to the Museum under the Kccpership of
|
| 102 |
C. F. Ben who claimed Banks as a forebear and was probably
|
| 103 |
already collecting the material on him which he would
|
| 104 |
eventually publish (more out of antiquarianism and piety than
|
| 105 |
any high estimate of the sculptor's ability) as A»»¢/f a/T77oov¢f
|
| 106 |
Bo»fu (Cambridge,1938). And yet in that volume no mention
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| 107 |
is made of this statuette. Bell recognized that it was a cast of
|
| 108 |
a furly accurate copy of the portrait statue in the Vatican
|
| 109 |
Collection known as the £¢.pG.a A4:¢#G¢. or P#dG.c¢.f¢.a and much
|
| 110 |
esteemed in the eighteenth century (see F. Haskcll and N.
|
| 111 |
Penny, T¢#G ¢»d £4G A„f¢.g#c (Ijondon and New Haven,
|
| 112 |
Conn.,1981), 300-I) and he may therefore have dismissed
|
| 113 |
the legend that it was by Banks. And yet some connection
|
| 114 |
with him is likely. It might merely be a cast of a copy by
|
| 115 |
someone else which was in the sculptor's studio, but that
|
| 116 |
Banks was interested by the figure is probable, especially
|
| 117 |
when we consider his paraphrase of other notable antique
|
| 118 |
figures for the captives around the pedestal of the monument
|
| 119 |
to Captain Richard Rundell Burgess in St Paul's (the model
|
| 120 |
for which was exhibited in 1802). And that he did make
|
| 121 |
reduced and modified copies after the antique is demonstrated
|
| 122 |
by the medallions of A4lo#g¢.„g and EPG"¢.„g commissioned
|
| 123 |
from hin by Sir John Soane for the pendentivcs of the ceihng
|
| 124 |
of the Old Dividend Office in the I.othbury Court of the
|
| 125 |
Bank of England (now dcstroycd) which were based on
|
| 126 |
terracotta versions which he is said to have made in Rome
|
| 127 |
and which arc now in Sir John Soane's Museum (Bell, op.
|
| 128 |
cit. 147). Indeed the latter may well be connected with the
|
| 129 |
`models and mcdallions' mentioned on the old label. The
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| 130 |
ways in which the plaster differs from the antique marble are
|
| 131 |
compatible with Banks's taste: the figurc's right hand is drawn
|
| 132 |
closer into her drapery, the hair and diadem are altered, the
|
| 133 |
veil falls more softly over her left shoulder, and there are
|
| 134 |
adjustments to the length of drapery falling in front of her
|
| 135 |
left arm.
|
\
|
| 137 |
BRITISH SCULPTURES, BY ARTIST'S NAME
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Unknown foundry
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| 139 |
After Gilbert William BAYES ( 1872-1953)
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| 140 |
@@PROCESS
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| 141 |
447. Sigurd
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| 142 |
71.9 cms. (height of bronze group); 36 cms. (length of integral
|
| 143 |
bronze plinth); 27 cms. (width of bronze plinth); 17.4 cms.
|
| 144 |
(height of marble block); 44.4 cms. (length of marble block);
|
| 145 |
28.2 cms. (width of marble block); 99.5 cms. (height of wooden
|
| 146 |
pedestal); 81 cms. (length of wooden pedestal); 43 cms. (width
|
| 147 |
of wooden pedestal)
|
| 148 |
Bronze with a dark brown patina deliberately worn to a golden
|
| 149 |
brown in some areas in relief (such as the dragon on his saddle-cloth
|
| 150 |
and the helmet ornament), with some blue and green enamel
|
| 151 |
in champleve fields of the saddle-cloth and bridle. Hollow cast, by
|
| 152 |
the sand-cast method, in pieces. The plinth was cast separately and
|
| 153 |
its underside reveals, at the points of contact with the three hoofs,
|
| 154 |
the iron armature inside the cast of the horse. The rider and horse
|
| 155 |
were cast separately, as were the parts of the bridle and saddle-cloth
|
| 156 |
decorated with enamel. In the case of the saddle-cloth this is only
|
| 157 |
apparent at the points of contact with the horse's back legs and the
|
| 158 |
hero's feet. The reins and sword strap of pliable copper are added.
|
| 159 |
The latter has been broken off: the rivet originally attaching it to
|
| 160 |
the flapping cloak remains. `GILBERT BATES / 1910' is chiselled in
|
| 161 |
the bronze across the corner of the plinth by the horse's back right
|
| 162 |
hoof. In raised letters of `Lombardic' form around the four sides of
|
| 163 |
the plinth is the following text: `He . who . would . win . to /the .
|
| 164 |
Heavens . & . bc . as . the . Gods . on . high/ must . tremble .
|
| 165 |
nought . at . /the . road . & . the . place . where . men . folk .
|
| 166 |
die'. The bronze plinth is mounted on, but unsecured to, a marble
|
| 167 |
block decorated with panels in sunk relief with some gilding now
|
| 168 |
mostly worn off, chipped, scratched, discoloured with dirt and with
|
| 169 |
red paint. This block is, in turn, mounted on, but unsccured to, a
|
| 170 |
wooden pedestal, painted to resemble stone, decorated with panels
|
| 171 |
in sunk relief. Above the higher ffieze of figures on one side arc the
|
| 172 |
names `BRyNHILD . GRIMHILD . GUDRUN' with the text above the
|
| 173 |
lower frieze: `AND . LO . THE . HoPE . oF . THE . PEol>LE ; THE
|
| 174 |
DAys . oF . A . KING . ARE . BEGUN' and on the opposite side
|
| 175 |
`GUNNAR', `HOGNI', `GOGGORM', on the banners held by the warriors
|
| 176 |
in the higher frieze. The painting on the pedestal is generally
|
| 177 |
discoloured with dirt and is also flaking. The separate wooden
|
| 178 |
elements are dividing where formerly glued and are also splitting.
|
| 179 |
Bequeathed by the Revd J. W. R Brocklebank in 1927. Acquired by
|
| 180 |
him in 1910 in substitution for an earlier cast of the same figure
|
| 181 |
(see below). The pedestal had been completed in March 1910 and
|
| 182 |
the marble base made in June in the previous year. No. I on Andrew
|
| 183 |
Shirley's receipt of January 1927.
|
| 184 |
S¢j#7i¢ was exhibited at the Royal Academy in 1909 (as
|
| 185 |
no.1834, S¢j"7i¢-eg#ctrr¢.¢7? f£#f#c#G, 47io7£2;e). Bayes had
|
| 186 |
made his reputation with sculpture of horses and his interest
|
| 187 |
in Nordic mythology had been evident as carly as 1894 when
|
| 188 |
he exhibited 777c r¢.dc a/£¢G V¢/ky7p¢.cf at the Royal Academy.
|
| 189 |
S¢j#7:¢ is the hero of the E/¢Gy E¢de, a source made available
|
| 190 |
to the educated public of that period by William Morris's
|
| 191 |
vcrstror\, The Story Of Sigurd the Volsung. Here. he tildes Grey
|
| 192 |
Fell (Sft of Odin), holding aloft the maric sword Gram or
|
| 193 |
Wrath, having slain the dragon Fafhir. The dragon is
|
| 194 |
represcntcd on his helm-crest and saddle-cloth. The Branstock
|
| 195 |
tree, emblematic of the Volsung dynasty, is represcntcd in
|
| 196 |
enamel on the saddle-cloth.
|
| 197 |
Brocklebank offered £150 (presumably the asking price)
|
| 198 |
for the bronze on 17 June 1909 probably as soon as he saw
|
| 199 |
it and Bayes promptly rcplicd accepting this offer on 18 June.
|
| 200 |
This reply is the first of a series of letters from him to
|
| 201 |
Brocklebank which survive in the Department's archive.
|
| 202 |
Brocklcbank, doubtless realizing that the bronze needed to
|
| 203 |
be seen from all sides, and was, with its marble base, too large
|
| 204 |
and heavy to be placed on any existing piece of furniture,
|
| 205 |
asked the sculptor to design a pedestal for it. On 30 June
|
| 206 |
Bayes thanked Brocklebank for his cheque, observed that the
|
| 207 |
last day of the Academy exhibition is `always the Aug. Bank
|
| 208 |
Hohday', and concluded, `1 shall be roughing out the sketch
|
| 209 |
for the base shortly 8c will send it up to you.' On 17 August
|
| 210 |
he wrote, apologizing that the bronze had not returned from
|
| 211 |
the Academy when he left town but he expected to bc in
|
| 212 |
I.ondon the following week and, as soon as he had made `a
|
| 213 |
note of the carving on the marble and the colour scheme, so
|
| 214 |
that the pedestal may bc in keeping with them', hc would
|
| 215 |
have the group packed up and sent. `In the meantime I enclose
|
| 216 |
a sketch of what I propose. The carving on it is very simple
|
| 217 |
incised carving with colour introduced into the deep sunk
|
| 218 |
background of the reliefs 8c patterns.'
|
| 219 |
Brocklebank was obviously impatient and a lcttcr from
|
| 220 |
Baycs dated 25 August apolodzcs for the delay and promises
|
| 221 |
to dispatch the group on 27 August; then one of 27 August
|
| 222 |
apolodzes for it not being sent owing to a misunderstanding
|
| 223 |
but assures Brocklcbank that it will go first thing tomorrow.
|
| 224 |
`1 have had the marble 8c bronze packed separately as being
|
| 225 |
safer, the screw, nut, & stcading pin being packed with the
|
| 226 |
marble.' He added that `1 hope you received the sketch design
|
| 227 |
for the wooden pedestal that I sent you from abroad. Will
|
| 228 |
you let mc have it back when you have decided how you hke
|
| 229 |
it.' It is possible that Brocklebank was irritated by the delay
|
| 230 |
for Bayes wrote on 6 September expressing the hope that the
|
| 231 |
group had arrived safely, not having heard that it had done
|
| 232 |
so (a courtesy he would certainly have expected). In the next
|
| 233 |
letter of 24 February 1910 Baycs sincerely regrets `having
|
| 234 |
been so long upon the ``Sigurd" base but a number of
|
| 235 |
un-expected things turned up in connection with it' and
|
| 236 |
concludes that he hopes to send it within the month. On 15
|
| 237 |
March he announced that he was sending it on the following
|
| 238 |
evening.
|
| 239 |
I have lost all sense of the wood er given it a `granulated' surface as
|
| 240 |
you suggested erhave kept the top panels low in tone to lead up
|
| 241 |
to the bronze.
|
| 242 |
In the front of the base the upper panel represents the three
|
| 243 |
Niblung brothers Gunnar, Hogni, 8c Guttom; the relief below,
|
| 244 |
`the funeral of Sigurd'.
|
| 245 |
On the back are the three women Blynhild, Grimhild 8c Guchm
|
| 246 |
who had played the most important part in the life of Sigurd.
|
| 247 |
Below is the child Sigurd being taken to RIng Elf to be named,
|
| 248 |
with an inscription above `and lo, the hope of the people, the days
|
| 249 |
ofa king are begun'. On the capitals are the ravens of odin `Thought'
|
| 250 |
er'`Speech'.
|
| 251 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 252 |
You will find the base so solidly constructed that it will need no
|
| 253 |
further weighting, in fact I found it an advantage to have casters.
|
| 254 |
I trust you understand how sorry I am to have kept you waiting
|
| 255 |
so long, but each stage, the making, carving, gilding c?colouring
|
| 256 |
ran into more time that I had anticipated.
|
| 257 |
There was, it sccms, no reply to this from Brocklebank who
|
| 258 |
was perhaps again irritated by the delay and also by the bill
|
| 259 |
for £50 which may have accompanied Bayes's letter. `1 have
|
| 260 |
been hoping to hear from you as to whether you like the base
|
| 261 |
8c if the colouring suits the room', wrote Bayes on 3 April
|
| 262 |
with a brevity that surely also imphed that he expected
|
| 263 |
payment. On 12 April he wrote as follows:
|
| 264 |
I am in receipt of yours givam glad to hear that you think the base
|
| 265 |
suits the `Sigurd' very well.
|
| 266 |
It is unfortunate that you think it expensive at £50 as it shows
|
| 267 |
that the measure of your appreciation docs not equal the amount
|
| 268 |
of work and thought I have expended upon it.
|
| 269 |
I should myself have liked to add side panels but as it was costing
|
| 270 |
me up to the amount you wished to pay, I had reluctantly to
|
| 271 |
abandon the idea. You are probably wanting a base with much less
|
| 272 |
thought & labour 8[ would prefer to spend a lesser sum upon it.
|
| 273 |
In that case now that a suitable base has been thought out could
|
| 274 |
not your local joiner, that you mentioned, make an inexpensive one
|
| 275 |
for you leaving out the art? Doubtless a second one made from that
|
| 276 |
which is already thought out could be made more cheaply for you.
|
| 277 |
The price I had to pay for mine would astonish you I can see from
|
| 278 |
your letter.
|
| 279 |
If you decide to have a less expensive one, would you be good
|
| 280 |
enough to let me have mine back at your earliest convenience as I
|
| 281 |
will make use of it myself.
|
| 282 |
This worked, and on 20 April Bayes wrote thanking
|
| 283 |
Brocklcbank for his
|
| 284 |
letters & cheque, & expression of appreciation of `Sigurd'. I hope
|
| 285 |
as time goes on the base will further increase your liking of the
|
| 286 |
work as a whole. Should it not I will exchange it for a statuette.
|
| 287 |
I was glad to have your assurance that I had removed any doubts
|
| 288 |
you might have had as to my straightforwardness in the matter &
|
| 289 |
shall be glad to show you the work I have in my studio when you
|
| 290 |
care to pay me a visit.
|
| 291 |
I did not take much care of the little water colour sketch during
|
| 292 |
the construction of the base & damaged it while making a couple
|
| 293 |
of clay models from it.
|
| 294 |
In the meantime Bayes had made a revised version of the
|
| 295 |
group and this was exhibited at the Royal Academy (no. 1913,
|
| 296 |
Sigurd-Statuette, bron2;e and enunel). In the oritrnal S±g\ird
|
| 297 |
had held aloft the ring Andvaranant which Fafiiir had guarded.
|
| 298 |
In this version hc held his sword. Brocklcbank considered this
|
| 299 |
alteration to be an improvement. `1 will have a photograph
|
| 300 |
of Sigurd 11 sent off tomorrow', Bayes wrote to him on 18
|
| 301 |
June 1910.
|
| 302 |
It is not a very good one but was taken at the last moment before
|
| 303 |
the bronze was sent off to the Academy. I am interested to hear
|
| 304 |
you like the alteration but regret it should make you jealous.
|
| 305 |
Would you care for me to have a fourth cast made similar to the
|
| 306 |
Academy one and let you have it in place of yours?
|
| 307 |
Bayes could not offer the cast on exhibition at the Academy
|
| 308 |
because it had been purchased under the terms of the
|
| 309 |
Chantrey Bequest for the Tate Gallery (no. 2739-reserve
|
| 310 |
collection).
|
| 311 |
An undated letter of either late June or early July informed
|
| 312 |
Brocklebank that he was thinking of having another cast made
|
| 313 |
of S¢j"%¢ `for the Rome International next year Cr as I
|
| 314 |
gathered from your letter that this year's Sigurd was the
|
| 315 |
favourite I am willing to have an extra cast made for you giv
|
| 316 |
send the one you now have to the Exhibition. There will be
|
| 317 |
no extra expense involved a this arrangement will I think
|
| 318 |
please you better.'
|
| 319 |
Evidently Brocklebank agreed to this proposal and on 5
|
| 320 |
July Bayes explained that it would be thrcc or four months
|
| 321 |
before the exchange could be arranged. On 29 October he
|
| 322 |
explained that the marble base need not bc sent (so this can
|
| 323 |
be dated to 1909) and also that the new cast might take a few
|
| 324 |
days more than anticipated `as one of the smaller enamels has
|
| 325 |
bccn troublesome and requires a fresh piece casting'. The
|
| 326 |
bronze was no. 1078 in the British Section of the
|
| 327 |
International Fine Arts Exhibition.
|
| 328 |
An additional letter by Bayes concerning the group survives
|
| 329 |
in the Department's archives dated 19 December 1927 in
|
| 330 |
response to an enquiry concerlring the sculpture by Andrew
|
| 331 |
Shirley. Bayes cxplaincd that Brocklebank's bronze was a
|
| 332 |
replica of the Chantrey purchase now in the Tate Gallery
|
| 333 |
which was exhibited in 1910 but adding the information that
|
| 334 |
the `wooden pedestal was executed for Mr Brocklebank-the
|
| 335 |
following year'. It was in fact cxccuted for him in the year
|
| 336 |
following his purchase of the 1909 Academy version, as we
|
| 337 |
have seen. The whole business is made more confusing by
|
| 338 |
the fact that the most accessible published illustration of
|
| 339 |
SGj#71¢ is fig. 197, pl. CVII, of Herbert Maryon's A4lodG"
|
| 340 |
Sc#/Pfz¢7.c (I.ondon,1933), in which a bronze of the first type
|
| 341 |
is captioned as being in the Tate Gallery. On the whole the
|
| 342 |
first type-with the ring-seems to have been the most
|
| 343 |
popular and scvcral casts of it are known: one, formerly
|
belonging to Sir George Frampton, was with the Armstrong-
|
| 345 |
Davis Gallery in Arundel, Sussex, in 1985 (when illustrated
|
| 346 |
in an adrcrtisemer[t in the National Art-Collections Fund
|
| 347 |
Rcp¢.ew), one was sold at Sotheby's, I.ondon, 12 April 1985
|
| 348 |
(lot 257), one remains in the Bayes family collection, and
|
| 349 |
another is in the Walker Art Gallery, Liverpool. Something
|
| 350 |
of the reputation which the sculpture enjoyed for its complex
|
| 351 |
dynamism (which provides a link between the New Sculpture
|
| 352 |
and the angular realism of H. S. Jagger) is conveyed by
|
| 353 |
Maryon's praise: `probably no other equestrian group extant
|
| 354 |
. . . would better repay a prolonged study of its composition'.
|
7
|
| 356 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 357 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 358 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 359 |
Wuan BEHNES ( 1795-1864)
|
| 360 |
@@PROCESS
|
| 361 |
448. Portrait bust of Samuel
|
| 362 |
Woodbum
|
| 363 |
67.8 cms. (height); 12.9 cms. (height of soclc); 123.2 cms. (height
|
| 364 |
of pedestal)
|
| 365 |
Carrara marble. Bust is chisellcd behind on the supporting shaft (as
|
| 366 |
li:;utalo¥t:r:::n=S!:;:stBeEdH::e/alsscou:;cro=D::i::e:2i.h:tfcie
|
| 367 |
is set on a Camra marble columnar pcdcstal made in three pieces:
|
| 368 |
base, principal shaft, and top recessed section of shaft. The pedestal
|
| 369 |
is chiseued with dlded letters: `SAMUEL WooDBURN / 1786-
|
| 370 |
1853 / THROUGH WIIOSE PUBLIC SPIRIT / THE LAWRENCE
|
| 371 |
COLLECTION / OF DRAWINGS BY / RAPHAEL AND
|
| 372 |
MICHEIANGELO / WAS SECURED FOR / THE UNIVERSITY / 1845'.
|
| 373 |
This must bc the bust, or a version of the bust, exhibited by Behnes
|
| 374 |
at the Royal Academy in 1833 (no.1201, `Marble bust, Sanucl
|
| 375 |
Woodbum, Esq. '). It was presumably commissioned by Woodbum,
|
| 376 |
and was inherited after his death in 1853 by his sister by whom it
|
| 377 |
was bequeathed to the University in 1865. Recorded in the
|
| 378 |
Donations Book on p. 54 a.s bequeathed by the sitter's `brother
|
| 379 |
Miss Woodhouse'. More correctly recorded in the H¢„dfroofe G#¢.de
|
| 380 |
of 1865 as in `the Fireproof Gallery containing the Raphacls and
|
| 381 |
Michclangelos . . . bequeathed by his sister Miss Woodbumc'. C. F.
|
| 382 |
Bell recorded in his first report as Keeper of the newly formed
|
| 383 |
Department of Fine Art in 1908 that he had set up, in niches at the
|
| 384 |
top of the principal staircase, Guelfi's busts of the Pomfiets (scc
|
| 385 |
Nos. 516, 517), and, in the same spirit of institutional piety, `an
|
| 386 |
appropriate inscription was cut upon the base of Samuel Woodbum
|
| 387 |
by W. Behncs, which has been placed in another of the niches'-
|
| 388 |
prcsunably the central one subsequently occupied by the /#¢¢.*¢
|
| 389 |
(No. 473) and now by the E¢#/ a/Ar#"de/ (No. 472). The bust was
|
| 390 |
cleaned by REthleen Kimber and C. P. Bartram of the Department
|
| 391 |
of Antiquities in the 1970s.
|
| 392 |
A ful account of woodburn's part in the acquisition of the
|
| 393 |
drawings by Raphael and Michelangelo, formerly in the
|
| 394 |
collection of sir Thomas Lawrence, is given in Sir Karl Parker's
|
| 395 |
introduction to his catalogue of the Ashmolean's Italian
|
| 396 |
drawings. Woodbun bought the great collection of drawings
|
| 397 |
(which he had himself helped Lawrence to fom) after
|
| 398 |
Lawrence's executors falcd to dispose of them as I.awrence
|
| 399 |
had hoped. Then, in accordance with I.awrence's wishes, but
|
| 400 |
with a patience Lawrence could not have anticipated,
|
| 401 |
Woodburn delayed selling them in case they could bc placed,
|
| 402 |
as the group by Raphael and Michelangelo eventually were,
|
| 403 |
in a public institution.
|
| 404 |
In 1832 Behnes was at the height of his powers, but already
|
| 405 |
encountering some financial difficulties. Bankrupt in 1861,
|
| 406 |
he died, a pauper in the Middlesex Hospital, three years later,
|
| 407 |
a year before this bust was presented.
|
| 408 |
10
|
| 409 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 410 |
Sir Joseph Edgar BOEHM (Joscf 86hm) ( 1834L90)
|
| 411 |
@@PROCESS
|
| 412 |
449. Portrait bust of John Ruskin
|
| 413 |
59.5 cms. (height)
|
| 414 |
Terracotta, hollow slip-cast as one piccc (including waisted square
|
| 415 |
soclc). The interior is a hot orange colour, the exterior toned with
|
| 416 |
a paler clay slip applied in very liquid form (granules are caught in
|
| 417 |
whiskers and hairs on proper left side of face). Incised `BOEHM fecit',
|
| 418 |
the `fecit' partially illcdble. The indistinct lettering, like the bluntness
|
| 419 |
of details such as buttonholes, suggests that there was little hand-finishing
|
| 420 |
after casting. The shirt-collar to proper left has bccn
|
| 421 |
chipped.
|
| 422 |
Presented by T. W. G. Acland in 1932, in accordance with the wishes
|
| 423 |
of his father, Dr Thcodore Dyke Acland, who had died in April
|
| 424 |
1932. Dr Acland had presumably inherited it from his father,
|
| 425 |
Ruskin's ffiend Sir Henry Wentworth Acland Bt. (see No. 549).
|
| 426 |
T. W. G. Acland wrote to the Director of the Taylor Institution
|
| 427 |
offering the bust on 17 February 1932, and then sent a copy on 20
|
| 428 |
April, having had no reply. The Secretary of the Taylorian called on
|
| 429 |
the Kccper of the Ashmolean (E. T. Lecds) on 22 April. heeds
|
| 430 |
wrote to Acland explaining that he must have intcndcd the
|
| 431 |
Ashmolean not the Taylorian and asking him to walt until Mr Clark,
|
| 432 |
Keeper of the Department of Fine Art, returned from abroad. Leeds
|
| 433 |
then forgot about the matter. Acland wrote again on 6 October.
|
| 434 |
Lecds replied on 10 October saying that Clank would like to know
|
| 435 |
more about it. Clearly there was some uncertainty as to the
|
| 436 |
desirabilfty of the gift (the marble version being already in the
|
| 437 |
Museum). However, on 23 October Grace Muirhead, who had
|
| 438 |
bccn housing the bust, wrote that she would deliver it to the
|
| 439 |
Museum on the following day and would collect it later if it were
|
| 440 |
not wanted. It was never collected.
|
| 441 |
The plaster version of Boehm's statue of Ruskin's hero Carlyle,
|
| 442 |
which was exhibited at the Royal Academy in 1875, was
|
| 443 |
praised by Ruskin in high terms in his Ac¢dc7„y Nofcf for that
|
| 444 |
year ( Wo#fa, 39 vols., Library Edition (London, 1903-12),
|
| 445 |
xiv. 288-9) as `a noble piece of portraiture' recording both
|
| 446 |
`mind and features' of `my dear master'. Ruskin approved of
|
| 447 |
Boehm's style as an alternative to the `Hellenic academy
|
| 448 |
sculpture'. He was taken by Carlyle to Boehm's studio where
|
| 449 |
the sculptor delighted him-`f#c¢ a duck-the very ideal of
|
| 450 |
noblest intense Germanism', he wrote to Mrs Severn on 26
|
| 451 |
June; `a jewel, not a Jew. A perfect type of intense blue-eyed
|
| 452 |
Harz-bred Germany', hc wrote to Charles Eliot Norton on
|
| 453 |
15 July (ibid. xxxvii. 169). Although born in Vienna, Boehm
|
| 454 |
was in fact of Hungarian extraction. Ruskin hoped Boehm
|
| 455 |
would ask to `do' him, but the first mention of a sitting comes
|
| 456 |
in a letter, probably of November 1879, to his friend Dr Henry
|
| 457 |
Acland (later Sir Henry): `For the bust I shall only be too
|
| 458 |
trad to sit to Boehm anywhere and any time hc likes, and
|
| 459 |
will stay in town as long as necessary.' On 1 December that
|
| 460 |
year he informed Miss Sara Anderson that he was going `over
|
| 461 |
to Kensington every day to Boehm for clay yet more "like"
|
| 462 |
than Herkhomer'. Alfred Gilbert, then acting as Bochm's
|
| 463 |
assistant, recaued (or claimed to recall) the comedy of trying
|
| 464 |
to conceal busts of Millais from Ruskin and busts of Ruskin
|
| 465 |
from Millais (I. MCAllister, A//rc¢ GG./4G# (I.ondon, 1929),
|
| 466 |
34-5). When asked by Marion Harry Spielmann for
|
| 467 |
recollections of the sittings, Boehm would reveal nothing but
|
| 468 |
did claim that he `never saw any face on which the character
|
| 469 |
and the inside of the man was so clearly written. He can never
|
| 470 |
have tried to dissimulate' (`Some Portraits of John Ruskin',
|
| 471 |
A4¢g#2;¢.„c a/A# ( 1891 ),122). Ruskin himself was a little
|
| 472 |
uneasy about the bust, describing it as of `extreme and, more
|
| 473 |
than I quite like, historical veracity' ( 777G Br¢7¢n.7ood DG.¢7rfef
|
| 474 |
a/7o4» A"jfe¢.79, ed. H. G. Viljoen (New Haven, ConTri.,1971 ),
|
| 475 |
@@PROCESS
|
| 476 |
535).
|
| 477 |
The bust was first exhibited in terracotta at the Royal
|
| 478 |
Academy exhibition in 1880 (no.1635) and it has been
|
| 479 |
assumed that this is the version now in the Ashmolcan
|
| 480 |
M:usoum (M. Stockel. Royalist and Realist: The itfie a,nd
|
| 481 |
Work Of Sir Joseph Edyar Boehm (INow Yock and I+ondon,
|
| 482 |
1988), 411). A flyshcct was published in Oxford on 27 May
|
| 483 |
1880 drawing attention to a full-length sketch in clay, also to
|
| 484 |
bust portraits one of which was on view at the Royal Academy
|
| 485 |
(as mentioned above), the other on view in the Turner Room
|
| 486 |
at the University Galleries. `Friends have cxpresscd a desire
|
| 487 |
that a statue of the author of A4lo¢e77¢ P#¢.7¢£g7tf should bc
|
| 488 |
placed in the School of Drawing, Oxford, which owes its
|
| 489 |
existence to his generosity and bears his name.' An appeal for
|
| 490 |
subscriptions had been pubhshed in 777c T¢.owcf on the day
|
| 491 |
before, with Prince Leopold and the marquess of salisbury
|
| 492 |
among the conimittcc members. The scheme, engivecred by
|
| 493 |
Acland, did not cnd in triumph. `Ultimately a marble bust
|
| 494 |
was placed in the Ruskin Drawing School', Ruskin's editors
|
| 495 |
observe.
|
| 496 |
The marble bust survives in the present premises of the
|
| 497 |
Ruskin School in the High Street. It is notably more precise
|
| 498 |
in detail than the terracotta version in the Ashmolean, showing
|
| 499 |
for example the buttonholes of the lapel more clearly and
|
| 500 |
even the rclicf stitching around them. It is also larger in size,
|
| 501 |
being 64 cms. high, on a soclc with a plinth 19 cms. square.
|
| 502 |
This proves that the Ashmolean's terracotta is not the origival
|
| 503 |
clay model (if that survived) but was made from the plaster
|
| 504 |
cast of that origival clay, which would also have served as the
|
| 505 |
prototype for the marble-whereas the marble would have
|
| 506 |
turned out the same size as that plaster cast, the terracotta
|
| 507 |
cast would have shrunk in firing. At least two terracottas were
|
| 508 |
made: two are recorded today, that in the Ashmolean Museum
|
| 509 |
and one in a private collection in Ijondon. There may well
|
| 510 |
be others. A bronze cast is said to be in the Geelong Art
|
| 511 |
Gallery, Victoria, Australia, a plaster cast is in the National
|
| 512 |
Portrait Gallery, I.ondon (Stockcr, op. cit. 411 ), and another
|
| 513 |
is in the Ruskin Gallery, Sheffield. Such plaster casts could
|
| 514 |
bc made from the moulds used for the terracotta edition, but
|
| 515 |
only after the latter had been completed, since the greasy
|
| 516 |
parting agent placed in the interior of the assembled mould
|
| 517 |
for casting plasters rcndcrcd it unfit for the clay, which needed
|
| 518 |
to be dried by contact with untreated plaster (a process
|
| 519 |
explained by Boehm in a letter of 31 December 1878 to
|
| 520 |
Thomas Dixon quoted by Stocker, op. cit. 232). If, as would
|
| 521 |
seem likely, the bust in the Ruskin School of Drawing is the
|
| 522 |
only version in marble, then it was the one exhibited by
|
| 523 |
Bochm at the Grosvenor Gallery in 1881. There seems to bc
|
11
|
| 525 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 526 |
no evidence that it was executed previous to the subscription
|
| 527 |
in 1880. The clay sketch for a full-length statue has not been
|
| 528 |
traced.
|
| 529 |
Ruskin continued to be impressed by Boehm's work and
|
| 530 |
gave him a commission for `twelve flat medallions, Florentine
|
| 531 |
manner, life size, of six British men ind six British women, of
|
| 532 |
typical character in beauty; all to be looking straight forward
|
| 533 |
in pure profile, and to have their hair treated with the Grcck
|
| 534 |
furrow' (letter to Charles Eliot Norton of 25 February 1884,
|
| 535 |
Library Edition of Wo7ilef, xxxvii. 475). Nothing, however,
|
| 536 |
seems to have come of this, Boehm being frantically
|
| 537 |
overworked and Ruskin of uncertain mental health.
|
| 538 |
Bochm's bronze portrait of Acland, dated 1887, is in the
|
| 539 |
University Museum.
|
| 540 |
12
|
| 541 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 542 |
Domenico Brucciani and Company, I.ondon
|
| 543 |
After Sir Joseph Edgar BOEHM (Josef 86hm) ( 1834-90)
|
| 544 |
@@PROCESS
|
| 545 |
450. Thoroughbred gelding
|
| 546 |
39 cms. (height including wire armature of ear);
|
| 547 |
32.8 cms. (length of base); 11.3 cms. (width of base)
|
| 548 |
Plaster. Solid cast. Seams from piece-mould unremoved. The tail
|
| 549 |
partially broken, the ears broken off to expose wire armature, the
|
| 550 |
fore legs chipped, the near one badly, exposing thicker wire armture.
|
| 551 |
Scratched on the base of the plaster with bold angular capital letters:
|
| 552 |
`D BRuCCIANI 8c Co LONDON 276.' Plaster now very dirty.
|
| 553 |
Transferred from the basement store of the Department of
|
| 554 |
Antiquities in 1986. Possibly residue of the teaching collection of
|
| 555 |
the Ruskin School of Drawing.
|
| 556 |
The firm of Brucciani were the leading suppliers of plaster
|
| 557 |
casts in Ijondon in the last century (for a sketch of the firm's
|
| 558 |
history see F. Haskell and N. Penny, L'¢7¢f¢.co „e//¢ f}o".a de/
|
| 559 |
gusto (T\iri]n. \984). L44-5). A Catalogtte Of Sculgture ky D.
|
| 560 |
Brmcciani, 40 Russell St., Covent Garden, `indated but
|
| 561 |
rectstcred in libraries in 1880, and so certainly published by
|
| 562 |
then, includes an introduction drawing attention to a `New
|
| 563 |
and Unique Collection of Animals by eminent Artists in Paris,
|
| 564 |
8cc', including horses by `Monti, Fraton, Macarthy, Lady
|
| 565 |
Dacre, Galnsborough, Mane [f¢.c], Rosa Bonheur' which arc
|
| 566 |
then hsted on pp. 48-50. The line appears to have been a
|
| 567 |
success and, after Boehm's death in 1890, the firm included
|
| 568 |
casts after the highly successful bronze portraits of horses that
|
| 569 |
hc had made popular with the English aristocracy. In the
|
| 570 |
Catalogtte Of Casts fior Schools which the Board of Edttcation
|
| 571 |
Co„f¢.de7tf S#¢.£4b4/G/or Scfroo/f, undated but issued by the fim
|
| 572 |
previous to 1906, no. 276 (as also no. 275) was a horse by
|
| 573 |
Boehm costing los. 6d. No. 276 was still on offer in the
|
| 574 |
1914 catalogue.
|
| 575 |
Perhaps by the factory in Soho, near Birmingham, of Matthew
|
| 576 |
BOULTON ( 1728-1809)
|
| 577 |
@@PROCESS
|
| 578 |
451 and 452. Pair of obelisks
|
| 579 |
42.85 cms. (height); 8.85 cms. (length and width of plinths)
|
The obelisks are composed of pieces of Derbyshire fluorspar (blue-john)-
|
| 581 |
the pedestals consisting of separate blocks, the tapering
|
| 582 |
obelisks themselves of three pieces. The plinth, the leaf-moulding
|
| 583 |
above it, the platform above the pedestal, the corner ornaments of
|
| 584 |
acanthus, the two bands of guilloche ornament concealing the joins
|
| 585 |
in the obelisks, the capping, and the cone finial are in each case
|
| 586 |
composed of a separate clement of bronze, fire-gilded. The elements
|
| 587 |
have been reassembled in this century in a manner that makes
|
| 588 |
examination impossible. `Bouch Bequest 1963' is painted in black
|
| 589 |
on the underside of each plinth.
|
| 590 |
Bequeathed by Major T. Bouch, 1963. Received by the Museum
|
| 591 |
on 20 November 1963. For more on the bequest see No. 469. Lent
|
| 592 |
to the City Art Museum, Derby, on 27 May 1981.
|
| 593 |
Neither the workmanship nor the design of these obelisks is
|
| 594 |
of very high quality, but it is comparable with the more
|
| 595 |
routine productions of Matthew Boulton's Soho factory (for
|
| 596 |
which see No. 608). The separate pieces of fluorspar appear
|
| 597 |
to have come from the same block for the same bands of dark
|
| 598 |
mauve are in both cases continued through the different
|
| 599 |
pieces. There is no mention in the Boulton archives of the
|
| 600 |
production of obelisks at Soho but some are mentioned in
|
| 601 |
carly sales and there are drawings in the pattern book; the
|
| 602 |
latter do not correspond to these but Sir Nicholas Goodison
|
| 603 |
regards the components as very close to Boulton's work and
|
| 604 |
`would be inclined to think that the obelisks came from his
|
| 605 |
factory' (letter of 19 June 1989).
|
13
|
| 607 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 608 |
Probably Gcorgc BULLOCK ( 1782/3-1818)
|
| 609 |
After Gcrard Janscn and another
|
| 610 |
@@PROCESS
|
| 611 |
453 and 454. Masks of shakespeare
|
| 612 |
and an unbearded male, probably
|
| 613 |
Wri||iam Wordsworth
|
| 614 |
28.5 cms. (height of mask of shakespeare); 38.5 cms. (height of
|
| 615 |
support for Shakespeare); 30.7 cms. (width of support for
|
| 616 |
Shakespeare); 27.8 cms. (height of ?Wordsworth); 38.2 cms.
|
| 617 |
(height of support for .>Wordsworth); 30.5 cms. (width of
|
| 618 |
support for .>Wordsworth)
|
| 619 |
Plaster of Paris discolourcd from ingrained dirt. There are scratches
|
| 620 |
especially to the head of wordsworth (No. 454). The heads have
|
| 621 |
bccn cast separately and stuck to the supports. There is an old break
|
| 622 |
across the support for the Shakespeare mended with cement and a
|
| 623 |
more recent break across the proper right top comer of the
|
| 624 |
companion bust which has been mended with glue. Wire rings are
|
| 625 |
attached to the backs of both supports.
|
| 626 |
Provenance unrecorded but thcsc are perhaps the `plaster portrait
|
| 627 |
reliefs of "Comtc Chambord" and "Tasso" ' included in an old
|
| 628 |
typed list mostly of miniatures, headed `Portraits &c' in the `Mcd.
|
| 629 |
Room' which was signed by E. T. heeds, Keeper of the Dcpartmcnt
|
| 630 |
of Antiquities, on 12 March 1932. The T¢so was specified as the
|
| 631 |
Sft of Mrs Stonehouse in 1915. It is more probably connected with
|
| 632 |
`A plaster mask of the poet Wordsworth, taken from the life in 1815.
|
| 633 |
Presented by Miss [ Elizabeth ] Wordsworth' ( RGPo77 a/ £¢c 4cGPGr a/
|
| 634 |
the Picture Galleries (+905). 8\).
|
| 635 |
The cabinet maker and sculptor George Bullock was
|
| 636 |
commissioned by the antiquarian John Britton to make a cast
|
| 637 |
of the half-length effigy of shakespeare by Gcrard ]ansen in
|
| 638 |
the Church of Holy Trinity, Stratford-upon-Avon, in 1814:
|
| 639 |
the work was accomplished with some difficulty in Dcccmbcr
|
| 640 |
of that year. A mezzotint by W. Ward ARA after the painting
|
| 641 |
by Thomas Phillips RA after the cast by Bullock was pubhshcd
|
| 642 |
on 23 April 1816 to celebrate the bicentenary of the poct's
|
| 643 |
death. (An impression of this rare print is in the Hope
|
| 644 |
Collection in the Ashmolcan Museum.) Casts survive in the
|
| 645 |
Walker Art Gallery, Liverpool, in the Soane Museum, and at
|
Abbotsford. A cast in Shakespeare's Birthplace, Stratford-upon-
|
| 647 |
Avon, is of the head and shoulders only. (For these see
|
| 648 |
Chive wdrr[wrigivl (ed.), George Bttlloch, Cabinet Maker
|
| 649 |
(Ijondon,1988), mos.15, 67, 68, pp. 77-8,141-2.) This cast
|
| 650 |
of the front of the head of shakespeare appears to be made
|
| 651 |
from the sane mould: it is particularly close to that at
|
| 652 |
Abbotsford although even more dull in its surface. There is
|
| 653 |
another such mask in the National Portrait Gallery, I.ondon
|
| 654 |
(in reserve, 185 A), framed and with the support painted
|
| 655 |
black. It was presented by Albcrt Way FSA (d.1874). The
|
| 656 |
identity of the other portrait has not been established for
|
| 657 |
certain. It is likely to bc another eminent poet and bears a
|
| 658 |
very slight resemblance to Milton (Spenccr might be
|
| 659 |
suspected but he is always depicted with a beard). The best
|
| 660 |
candidate is Wordsworth. It is known that a mask of
|
| 661 |
Wordsworth supposedly taken from life in 1815 was presented
|
| 662 |
to the Museum in 1905 (as mentioned above). This might
|
| 663 |
have been made by Bullock, who is known to have been
|
| 664 |
interested in finding modem companions for his Shakcspearc
|
| 665 |
and cast the head of Sir Walter Scott for this reason. The high
|
| 666 |
brow, prominent eyebrows, long straight nose, and spare hair
|
| 667 |
parted near the centre all correspond with the portrait of
|
| 668 |
Wordsworth painted by Boxan. If this is correct then it is
|
| 669 |
curious that the companion mask of Shakespeare is not
|
| 670 |
mentioned in the Museum's records.
|
| 671 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 672 |
Attributed to D. CARDOSI (active mid-ninctecnth century)
|
| 673 |
After Franz Thaller and Matthias Ranson
|
| 674 |
@@PROCESS
|
| 675 |
455. Bust portrait of Admiral Lord
|
| 676 |
Nelson
|
| 677 |
66.2 cms. (height including integral socle)
|
| 678 |
Plaster of Paris. Hollow cast with very thin walls. The seams of the
|
| 679 |
piece-mould are very evident. The thin shell of plaster is perforated
|
| 680 |
below the proper left epaulette and on the top of the head to proper
|
| 681 |
right. The plaster is discoloured with ingrained din but the face
|
| 682 |
appears to have been dehibcrately coloured a golden brown, perhaps
|
| 683 |
from a light coat of shellac applied only in this area.
|
| 684 |
Provenance unrecorded.
|
| 685 |
Nelson sat to the Austrian sculptor Franz Thaller when he
|
| 686 |
was in Vienna in August and September 1800 at the same
|
| 687 |
time that hc was being painted by Hcinrich Friedrich Ftiger.
|
| 688 |
A life cast may also have been supplied to the sculptor. The
|
| 689 |
completed marble bust, which is now in the National Maritime
|
| 690 |
Museum, is inscribed `Franz Thaller ct Matthias Ranson
|
| 691 |
Vicnnac Aust. MDCCCI' and was sent to I.ondon in that
|
| 692 |
year. It was extensively copied and also served as the model
|
| 693 |
for Flaxman's statue on the hero's tomb in St Paul's Cathedral.
|
| 694 |
A bronzed plaster cast with the seams removed is in the
|
| 695 |
National Portrait Gallery with the name D. Cardosi Scratched
|
| 696 |
on the balck. (R. Walker. Regeney Portraits, National Portrait
|
| 697 |
G¢//cry (Ilondon, 1985), i. 362, no. 2668, ii, pl. 2734).
|
| 698 |
Vestidal seams on this plaster correspond with those which
|
| 699 |
arc very evident on the Ashmolean bust. The size is the same,
|
| 700 |
as is the soclc (which is square in the marble). Cardosi is
|
| 701 |
likely to have been an Italian /o777¢¢}orG working in I.ondon.
|
| 702 |
Hc is not othcrwisc recorded. The thin shell of the cast
|
| 703 |
suggests a date in the second half of the ninctcenth century.
|
15
|
| 705 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 706 |
Sir Francis CHANTREY ( 1781-1841 )
|
| 707 |
@@PROCESS
|
| 708 |
456. Sketch model for a statue of
|
| 709 |
Mrs Dorothy Jordan with her
|
| 710 |
children
|
| 711 |
31 cms. (height)
|
| 712 |
Terracotta (possibly un fired clay)
|
| 713 |
The University Gallery Donations Book records, in February 1863,
|
| 714 |
the bequest of a `Miss Jones' consisting of copies made by her of
|
| 715 |
Correggio, a 4¢jj.a-ri/G.ova of Queen Adelalde by Sir Francis Chantrey,
|
| 716 |
and `a small sketch in clay for the statue of Mrs Jordan and her
|
| 717 |
children'. The group has often been assumed to have been a part of
|
| 718 |
the Chantrey gift of 1842. Miss Jones may well have been related
|
| 719 |
to the sculptor's friend and biographer George Jones whose widow
|
| 720 |
presented works to the University Galleries in April 1873. The
|
| 721 |
sculpture was given an incorrect provenance in the catalogue of the
|
| 722 |
chlkji:riron Sir Francis Cha!mrey 1781-1841: Sculptor of the Great
|
| 723 |
(I.ondon, National Portrait Gallery, and Mappin Art Gallery,
|
| 724 |
Sheffield,1981), no. 28.
|
| 725 |
Very few sketch models survive by English sculptors of this
|
| 726 |
period. This resembles, in colour of clay and summary
|
| 727 |
handling, Chantrey's model for the Bishop Hcber monument
|
| 728 |
(Victoria and Albert Museum, A. 29-1933). The completed
|
| 729 |
marble, now in Buckingham Palace, represents Mrs Jordan
|
| 730 |
with a different hairstyle, more ample drapery, and attributes
|
| 731 |
of pipes and a mask by her feet to indicate her profession. She
|
| 732 |
is also feeding an infant rather than carr)ing a sleeping one.
|
| 733 |
Mrs Jordan, who had been the mistress of william, duke of
|
| 734 |
Clarence, and had borne him ten children, died in poverty in
|
| 735 |
Paris in 1816. The commission, the cost of 2,000 guineas,
|
| 736 |
and the proposed location in Westminster Abbey were
|
| 737 |
entered in the sculptor's ledger in 1831. Other sources enable
|
| 738 |
us to be more exact about the date of the commission of this
|
| 739 |
monument and also reveal the uncertainty concerning its
|
| 740 |
location.
|
| 741 |
A letter by Maria Edgeworth to her mother of 5 January
|
| 742 |
1831 states that `the king has just sent for Chantrey and
|
| 743 |
bespoken a monument for Mrs Jordan-to be put up where
|
| 744 |
she died near Paris!' (M. Edgeworth, Lc#G7:t/yoow E"g/¢„d,
|
| 745 |
JBJ3-44, ed. C. Colvin (Oxford,1971), 462). Chantrey
|
| 746 |
rccaued how anxious the king was about the memorial and
|
| 747 |
how concerned to hear his `opinion what it should be, &
|
| 748 |
where it should be placed'|hantrey not being able to help
|
| 749 |
much with the latter enquiry, the king `then went into a
|
| 750 |
thousand particularitics of their private life, always ending
|
| 751 |
that she had been an cxccuent mother to her children. He
|
| 752 |
said he knew he had been much blamed for his conduct to
|
| 753 |
her, but that from the time they parted he had allowed
|
| 754 |
2,000 I a year, which was regularly paid cvcry quarter,
|
| 755 |
although often with great difficulty to himself to find the
|
| 756 |
mane+/' Uounals and Correspondence Of Miss Bell.ry, ed. La:dy
|
| 757 |
Tcresa Lewis (Ijondon,1865), iii. 4634r-ntry for 25 July
|
| 758 |
1839, recalling a conversation with the sculptor the previous
|
| 759 |
evening). The marble group was completed in 1834 and, on
|
| 760 |
the king's death, was inherited by the first earl of Munster,
|
| 761 |
Mrs Jordan's eldest surviving son.
|
| 762 |
16
|
| 763 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 764 |
CHELSEA factory
|
| 765 |
@@PROCESS
|
| 766 |
457. Head of a lauching child
|
| 767 |
19 cms. (height); 11.9 cms. (width across opening of neck);
|
| 768 |
o.8 cms. ( approximate thickness of porcelain wall)
|
| 769 |
Soft-paste porcelain, glazed and decorated with enamel colours. Pink
|
| 770 |
orange is employed for lips and mouth, and the corners of the eyes,
|
| 771 |
and also more funtly for the cheeks and elsewhere in the flesh. A
|
| 772 |
lilac grey is employed for the hair (in hatched lines of varied intensity
|
| 773 |
gving the impression of a tortoiseshell pattern), for the upper eyelids
|
| 774 |
(each indicated with two fine Lines-the lower lids are unmarked),
|
| 775 |
the irises, the eyebrows (rendered with fine hatched lines, slanting
|
| 776 |
from upper right to lower left in both cases) and for the nostrils
|
| 777 |
(very funtly). The decoration docs not follow the model exactly.
|
| 778 |
The hair is indicated on the forehead where there is no relief and
|
| 779 |
the numerous tiny teeth outlined in orange pink bcncath the upper
|
| 780 |
lip arc not incised. There are grey peppery specks most evident in
|
| 781 |
the neck and lower part of the cheek to proper left and in the highest
|
| 782 |
part of the forehead. The unglazed body of the porcelain is evident
|
| 783 |
on a few points and ridges of the curls. There is also a slightly
|
| 784 |
granular texture in a few of the curls. The line across the proper
|
| 785 |
right side of the face, accentuated by some of the pink orange being
|
| 786 |
gathered on it, appears, from examination of the hollow interior,
|
| 787 |
to bc a casting seam which has slightly opened in firing. There are
|
| 788 |
also small firing cracks in the back of the head. There is an old break
|
| 789 |
across the neck passing up into the hair which falls on the child's
|
| 790 |
left shoulder, now accentuated by discoloured adhesive. Mounted
|
| 791 |
on a mahogany stand: the origival soclc is hard to envisage.
|
| 792 |
Placed on loan by Cyril da Costa Andrade of Morocco House,
|
| 793 |
Bayards Cove, near Dartmouth, Devon in 1957. Given by him in
|
| 794 |
1965 in honour of sir Winston Churchill. Registered on 25 January.
|
| 795 |
From the collection of C. T. Fowler who is said to have discovered
|
| 796 |
it shortly before August 1938 (when it was published in the
|
| 797 |
Co~„oS.jfe#?-see below) `on top of an old coal bell with
|
| 798 |
heterogeneous objects in a I.ondon shop'. For other gifts to the
|
| 799 |
Museum from Cyril Andradc scc Nos. 487, 570, 5934. The head
|
| 800 |
seems always to have been displayed by itself in a glass case on a side
|
| 801 |
table in the company of British eighteenth-century paintings in the
|
| 802 |
Chambers Hall Gallery.
|
| 803 |
This radiant and vivacious head, known in no other ceramic
|
| 804 |
example, is the most celebrated piece of porcelain in the
|
| 805 |
Ashmolean Museum. It has always been regarded as an early
|
| 806 |
product of the Chelsea factory: the distinctive colouring and
|
| 807 |
handling of the decoration are characteristic of the factory in
|
| 808 |
its early years (see for instance the orange lips and outlined
|
| 809 |
tccth of the children with a fish flower holder, or the hatched
|
| 810 |
rendering of the fur of the rabbit on the tureen, both in the
|
| 811 |
Victoria and Albcrt Museum (c.196-1926 and Schr. I-151a)
|
| 812 |
and the firing problems, evident in the speckling and the
|
| 813 |
sean, are consistent with the experiments which the factory
|
| 814 |
was making around 1750. The head was published, soon
|
| 815 |
after its discovery, by Dr Bellany Gardner in Co""o¢.ffG#7
|
| 816 |
(Aug. 1938: 59ndo-with a colour plate on the cover). Hc
|
| 817 |
Was not content to identify it as Chelsea, but proposed that
|
| 818 |
the model was by I.ouis-Francois Roubiliac, the great French
|
| 819 |
sculptor who settled in I.ondon in the 1730s, and also
|
| 820 |
Considered that `nothing' would be more `natural' than for
|
| 821 |
it to be a portrait of Roubiliac's daughter Sophia, or Sophie,
|
| 822 |
born in August 1744, whose godfather was Roubhiac's
|
| 823 |
compatriot and fellow Huguenot Nicolas Sprimont, who
|
| 824 |
managed the Chclsea factory.
|
| 825 |
Roubhiac's givl angel in the monument to the duchess of
|
| 826 |
Montagu is distinguished by a top knot in her hair: curls were
|
| 827 |
not then enough to suggest femininity and there is no reason
|
| 828 |
to suppose that this head is female. It would also bc surprising
|
| 829 |
if it wcrc a portrait. And it is not certain that it is a child,
|
| 830 |
Nevertheless Gardner's theory that it is a portrait of sophie
|
| 831 |
won the support of Mrs Esdaile, then the leading expert on
|
| 832 |
Roubiliac, and Andrade, the donor, was very strongiv
|
| 833 |
attached to it (the Museum discouraged scepticism on the
|
| 834 |
subject for this reason). That there is some association with
|
| 835 |
Roubiliac is not impossible for he was said to have studied
|
| 836 |
with Pcrmoser, whose style the head recalls, and hc is known
|
| 837 |
to have studied and admired Bernini, from whose inventions
|
| 838 |
the head is certainly derived. But there is no proof of Roubiliac
|
| 839 |
working for the Chelsca factory and no close relationship
|
| 840 |
between this head and any of his sculptures.
|
| 841 |
It would seem to rcprcsent a novel departure in porcelain.
|
| 842 |
Other children's heads of a similar size were made by
|
| 843 |
European factories, but, it seems, only at a slightly later date:
|
| 844 |
J. J. Kindler's animated and idcalizcd busts of Prince Ijouis
|
| 845 |
Charles de Bourbon and his sister Princess Marie Zephirine
|
| 846 |
seem to have been modeued for the Meisscn factory in about
|
| 847 |
1753 and the pair of children's heads modelled by Franz
|
| 848 |
Anton Bustehi at Nymphenburg date from 1760-1-their
|
| 849 |
soclcs, incidentally, help us to envisage what was perhaps
|
| 850 |
intended for this bust. A HG¢d a/a Bay after a model by
|
| 851 |
Duqucsnoy made by the Chelsca factory in the same period
|
| 852 |
as the Ashmolcan's head suggests an interest in sculptured
|
| 853 |
models (Victoria and Albert Museum c. 34-1975).
|
| 854 |
Bemini and Pemoser have already been mentioned as
|
| 855 |
sources. There is a connection with the type of head that
|
| 856 |
Bernini created in the mid-1640s for the angel administering
|
| 857 |
intolerable pleasures to St Teresa in the shrine of that saint
|
| 858 |
in S. Maria della Vittoria in Rome and then developed for the
|
| 859 |
angel lifting Habalckuk by a lock of hair (in the Chid Chapel
|
| 860 |
of s. Maria del Popolo, Rome, in the mid-1650s) and for the
|
| 861 |
angels and cherubim in the glory above the Cathedra Petri
|
| 862 |
in St Peter's ( 1657nd6). The porcelain head has the same
|
| 863 |
dynamic mobility of expression and the same bold plasticity
|
| 864 |
in the modelling of cheeks and mouth and eyes, and above
|
| 865 |
all in the broad sweeping but pointed locks of hair. What is
|
| 866 |
unlike Bemiri is the slanting of the eyes and the shght hint
|
| 867 |
of the sublime and divine becoming grotesque and exotic
|
| 868 |
which suggests the development of Bcrnini's style by Pcrmoser
|
| 869 |
in whose work martyrs and harlequins, devils and Pekinese,
|
| 870 |
are so closely auied.
|
| 871 |
The origival model for the head is likely to have had a
|
| 872 |
companion, responding to it in movcmcnt and
|
| 873 |
complementing it in expression. Certainly the numerous
|
| 874 |
plaster, terracotta, marble, and bronze versions of the head
|
| 875 |
are frequently paired with a head of a crying child. None of
|
| 876 |
the versions in these media that I have studied is likely to
|
| 877 |
have been made before the late eighteenth century but they
|
17
|
| 879 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 880 |
may all the same reflect prototypes which predate the
|
| 881 |
porcelain version. (For bronze versions see Christie's,
|
| 882 |
I.ondon, 9 April 1987, lot 116; also Co"»oS.ffc#y (Nov.
|
| 883 |
1938), 276; Hcim Gallery, Summer Exhibition 1967, p.14,
|
| 884 |
no. 30, attributed to Artus Quellinus the elder; and K. Corey
|
| 885 |
Tbccbhe, European Bronz,es in the Royal Ontario Musettm
|
| 886 |
(Toronto, 1982), no. 84, attributed to Artus Quellinus the
|
| 887 |
younger.. 8. v . Gcitz-M6ha. Catalogtte Of Scttlpture in the
|
| 888 |
L¢.e4¢.egho#f, F7i¢7¢4/#7¢, ii (Melsingen, 1988), n. 82;
|
| 889 |
Sotheby's, New York, 9-10 January 1990, lot 102. )
|
| 890 |
Versions of the laughing child without a pair, dating from
|
| 891 |
the eighteenth century and with clear British connections, do
|
| 892 |
suggest that the porcelain version might not have had a pair.
|
| 893 |
What appears to bc a plaster version of the laughing child
|
| 894 |
appears, as Malcolm Baker has pointed out to me, in a painting
|
| 895 |
of the late 1770s probably by J. H. Mortimer and representing
|
| 896 |
Mortimer, Joseph Wilton, and a student. There is also a signed
|
| 897 |
marble version of the laughing child by Nollekens in the
|
| 898 |
Hermitage, Leningrad, also with no companion.
|
| 899 |
As a pair the heads may have been meant for Heraclitus
|
| 900 |
and Democritus, the cheerful and gloomy Greek
|
| 901 |
philosophers. It is known that Thomas Regnaudin exhibited
|
| 902 |
a pair of Ire-size plaster busts of the infant Heraclitus and
|
| 903 |
the infant Dcmocritus at the Salon of 1673 (untraced) and a
|
| 904 |
pair of bronze heads of the sane by Fran€ois Girardon are
|
| 905 |
recorded as made for a friend at Troyes and arc likely to be
|
| 906 |
those now in the Mus6e des Beaux-Arts in that city (F.
|
| 907 |
Souchal. French Sculptors Of the 17th and l8th Centuries
|
| 908 |
(Oxford,1981 ), ii. 734, nos.101 and 102). A pair of laughing
|
| 909 |
and crying children can be seen on a side-table in Willcm van
|
| 910 |
Haecht's painting of 1628 showing the gallery of Cornclis
|
| 911 |
van der Geest (Rubens House, Antwerp) and a marble head
|
| 912 |
in the Staatliche Museen, Berlin-Dahlcm, appears to be a
|
| 913 |
version of the crying child of these two (Inv. 19/75). A
|
| 914 |
bronze head of such a crying child is included in an opulent
|
| 915 |
still life with emblems of vanity signed by Pieter Boel in 1663
|
| 916 |
(Musec des Beaux Arts, Lille-see no. 8, p. 44, of lof; S¢.;c/e
|
| 917 |
de R#Z7G"f (Grand Palais, Paris,1977-8) ). Some heads of
|
| 918 |
children dating from the sixteenth century suggest that this
|
| 919 |
theme was already popular then, although none seem to
|
| 920 |
survive as pairs. (The grimacing bronze boy in the Pierpont
|
| 921 |
Morgan Library is a notable cxamplc which could easily belong
|
| 922 |
to this category. ) The idea of a pair of angels, one full of joy
|
| 923 |
and the other of sorrow, can certainly be traced back at least
|
| 924 |
to Michelangclo's plans for the tomb of Pope Julius 11 (as
|
| 925 |
described in Condivi's Life). The most popular versions o.f
|
| 926 |
this theme, however, arc relatively modern-the paired
|
| 927 |
bronze heads of the Ashmolean type and, still more, the paired
|
| 928 |
miniature bronze heads much reproduced in the last century
|
| 929 |
as `Pleur et Rire' or `Jean qui pleur et Jean qui rit' which are
|
| 930 |
supposed to derive from terracotta models by Houdon (`I.e
|
| 931 |
Ris, I,e Chagrin et le d6dain', three `tetes de caractere en tcrre
|
| 932 |
cuite' listed by the artist-but without reference to them
|
| 933 |
being infantile models; see L. Reau, Ho#do7¢.. S¢ p¢.G Gf fo7¢
|
| 934 |
a7#p7.c (Paris, 1964), i. 94, in. 22, no. 55, and pl. XXIV).
|
| 935 |
18
|
| 936 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
19
|
| 938 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 939 |
RIchard CHICHELEY (active 1720s and 1730s)
|
| 940 |
@@PROCESS
|
| 941 |
458. Clock case crowned by a
|
| 942 |
crowing cock and a figure of Time
|
| 943 |
and flanked by boy angels
|
| 944 |
29.7 cms. (height); 14.35 cms. (length at foliate feet); 10.5 cms.
|
| 945 |
(width at foliate feet)
|
| 946 |
Ijimcwood. The case is constructed in three parts. The figure of
|
| 947 |
Time and his base slot into the top of the case. Both of Time's
|
| 948 |
wings have been broken and glued at the point of contact with the
|
| 949 |
back. Time's forelock and left and right hands have been broken
|
| 950 |
off and are missing, as is the scythe which he wielded-xcept for
|
| 951 |
the blade among the flowers by his right foot. The main body of the
|
| 952 |
case consists of the central opening (with its old brass dial and iron
|
| 953 |
hour hand), the cock, the flanking angels, the scrolls above and
|
| 954 |
below their feet, and the shield with its elaborate monogram. Most
|
| 955 |
of the raised right hand of the angel to proper left has been broken
|
| 956 |
off and is lost, and so too has the emblem (presumably the moon)
|
| 957 |
which he held aloft. The end of his right wing, also a flourish of
|
| 958 |
drapery at his back, are broken off and lost. The other angel has lost
|
| 959 |
his left wing and the ends of some of the points of his star. The
|
| 960 |
four foliate feet into which the case of the clock is fitted fonn a
|
| 961 |
separate unit. There arc traces of adhesive below it. Behind the base
|
| 962 |
is a paper label printed `1836 Cat: p.' with ` 141 / No. 401.A.' added
|
| 963 |
in black ink. On the flat back of the central body of the clock in black
|
| 964 |
ink is written: `Museo Ashmoleano / Geordus Clarke
|
| 965 |
LL:D: / 1736 / Ricardus Chicheley / Archisculptor
|
| 966 |
Chathamensis/Navalis/Fecit'.
|
| 967 |
Given by Gcorgc Clarkc in 1736 (see below). First recorded in print
|
| 968 |
as `A model of st Peter's Clock at Rome; carved by Chicheley' in
|
| 969 |
A Catalogtte of the Ashmolean Museum: Descriprion Of the Zoological
|
| 970 |
Specimens, Arwiquities, Coins and Miscellaneous Cttriosities (Oxford,
|
| 971 |
1836), 141, no. 401a.
|
| 972 |
For Chichcley scc also No. 459. He was evidently a carver
|
| 973 |
connected with the Royal Navy and with some official
|
| 974 |
attachment to the dockyards at Chatham. Payments are
|
| 975 |
recorded for hin and his partner Joseph Wade bctwecn 1726
|
| 976 |
and 1728 for work on the pediment of the west middle front
|
| 977 |
of Greenwich Palace-ccording to Gunnis who, however,
|
| 978 |
in his entry for Wade records the partner's name as
|
| 979 |
Bartholomew, rather than RIchard, Chicheley (R Gunnis,
|
| 980 |
D¢.cf¢.o„¢vy a/B".£¢.£¢ Sc„/Pforf ( I.ondon, 1968 ), loo and 411 ).
|
| 981 |
Gunnis also records payments for decorative stone carvings
|
| 982 |
(capitals, modiLLions, flowers, and mask heads) in the south
|
| 983 |
Pavilion of Quccn Anne's Court and over the chimney in the
|
| 984 |
kitchen of the south-west Pavilion (ibid. loo).
|
| 985 |
The clock has no resemblance to that on one end of the
|
| 986 |
upper reSster of the fa€ade of the Basilica of st Pcter's in
|
| 987 |
Rome but a connection with St Peter is suggested by the cock
|
| 988 |
(although this is appropriate to clocks anyway) and it is not
|
| 989 |
impossible that the clock is an illecttinate child of some
|
| 990 |
Roman seventeenth-century invention. The monogram on
|
| 991 |
the shield involves two Gs and two Cs and indicates the
|
| 992 |
donor, Dr George Clarkc ( 1661-1736), `Fellow of All Souls,
|
| 993 |
sometime burgess of the University, and one of Queen Anne's
|
| 994 |
Commissioners for executing the office of I.ord High
|
| 995 |
Admiral'. In 1719 he had given `a model of a fully rigged ship
|
| 996 |
made by Williani Ijee' to the Museum. (See R F. Ovcnell,
|
| 997 |
The Ashmolean Musettm 1683-1894 (Oxf;ord, \986), L\9,
|
| 998 |
@@PROCESS
|
| 999 |
137). His interest in sculpture is suggested by the fact that
|
| 1000 |
be preseITted aL group o£ Sun§on slaying the Philistine after
|
| 1001 |
Giambologna to Brasenose Collcgc in 1727 (it was removed
|
| 1002 |
in 1881). Hc was the architect of the Warden's I.odgivg at
|
| 1003 |
All Souls of 1704nd, the Library of Christ Church (begun
|
| 1004 |
1717), and, in consultation with Hawksmorc, he designed
|
| 1005 |
the new buildings for Worcestcr Couegc in about 1720 and
|
| 1006 |
for Magdalen in about 1730. The beauties of carly eightccnth-century
|
| 1007 |
Oxford owe more to him than to any other man.
|
| 1008 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1009 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1010 |
Perhaps Richard CHICHELEY (active 1720s and 1730s)
|
| 1011 |
@@PROCESS
|
| 1012 |
459. Royal arms
|
| 1013 |
11 cms. (height excluding lion on crown); 14 cms. (width)
|
| 1014 |
Boxwood. There are small losses to the thinnest portions of the
|
| 1015 |
foliate scrolls below the lion's tail, to the unicorn's back left leg,
|
| 1016 |
and the scrolls behind it. The uppermost forward curled end of the
|
| 1017 |
acanthus has been broken off on both sides; that to proper left
|
| 1018 |
survives (and has been photographed in place). The lion finial to the
|
| 1019 |
helm has been broken off but survives (and has been photographed
|
| 1020 |
in place). There is a crack in the shield to proper left near the front
|
| 1021 |
left hoof of the unicorn. A metal chain is attached to the unicorn's
|
| 1022 |
collar. On the reverse of the carving there is a black-bordered paper
|
| 1023 |
label printed with `oN LOAN FROM' and `18 . . .', with `Ashmolean
|
| 1024 |
Museum / Oxford' written in brown ink, together with a smaller
|
| 1025 |
paper label printed `1836 Cat: p' with `141' and `No. 401' in ink.
|
| 1026 |
There are also traces of a pink paper label. Scaling wax was once
|
| 1027 |
attached behind the helm and behind the unicorn.
|
| 1028 |
22
|
| 1029 |
I'resumably the `hatchment of the Royal Arms, finely carved', given
|
| 1030 |
to the Museum by George Clarke in 1736. For Clarke see No. 458.
|
| 1031 |
First recorded in print as `The FGng's arms finely carved in wood by
|
| 1032 |
Chicheley 1736' in A C¢£#/og"c a/ £bc Aj¢7coo/e¢79 M#fc#7#..
|
| 1033 |
Description of the Zoological Specimens, Antiquities, Coins and
|
| 1034 |
M;JCG//¢7¢Go#f C#r;ojG.f¢.cJ (Oxford, 1836), 141, no. 401.
|
| 1035 |
For Chicheley see the wooden clock case, No. 458. The 1836
|
| 1036 |
catalogue is not entirely trustworthy. 1736 is the date which
|
| 1037 |
is written on the wooden clock case, not on these arms.
|
| 1038 |
Perhaps the name of Chicheley slipped over from the clock
|
| 1039 |
case as well. It is easy to see how this carving would have been
|
| 1040 |
associated with the clock case, both being miniature carvings
|
| 1041 |
in wood, and it is easy to see how a tradition might have
|
| 1042 |
arisen that they were by the same hand.
|
| 1043 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1044 |
Dora CIARKE (Dora Thacher Middleton, nee Clarke)
|
| 1045 |
(1895-1989)
|
| 1046 |
@@PROCESS
|
| 1047 |
460. Coloured girl from
|
| 1048 |
Massachusetts
|
| 1049 |
31.2 cms. (height); 5 cms. (height of plinth); 16.5 cms. (length
|
| 1050 |
and width of plinth)
|
| 1051 |
Rosewood, carved and polished. There are a few very slight vertical
|
| 1052 |
splits. Mounted on a block of highly polished black slate.
|
| 1053 |
Sold by the artist probably in 1962 or soon afterwards to her friend
|
| 1054 |
orovida Pissarro by whom it was bequeathed to the Ashmolean
|
| 1055 |
Museum in 1968 together with two of her own paintings. Rcdstered
|
| 1056 |
in December (with no day given) as `Head of a native Woman.
|
| 1057 |
Wood'.
|
| 1058 |
Dora Clarke, although still alive when this catalogue was being
|
| 1059 |
compiled (she died 20 October 1989), was not able to help
|
| 1060 |
with the cataloguing of her work. She studied at the Slade
|
| 1061 |
School between 1910 and 1916. Some impressive finished
|
| 1062 |
drawings of factories in Detroit are dated 1917. An album of
|
| 1063 |
photographs of her sculpture commences with a marble low
|
| 1064 |
relief dated 1922. This work, entitled 777c /egg"d a/S¢p¢.fr¢.,
|
| 1065 |
was exhibited at the Royal Academy in 1923. She exhibited
|
| 1066 |
frequently at the Academy between 1924 and 1934, also in
|
| 1067 |
1938 and then in 1953, 1955, and 1959. During the 1950s
|
| 1068 |
she also exhibited frequently at the Royal Society of British
|
| 1069 |
Artists. During the 1920s and 1930s she enjoyed considerable
|
| 1070 |
success, both receiving portrait commissions and selling work
|
| 1071 |
to important collectors of advanced taste.
|
| 1072 |
Many of her works were of exotic subjects and were
|
| 1073 |
fashioncd out of exotic natural materials, most of them
|
| 1074 |
carved-but she did also work in copper and aluminium. Her
|
| 1075 |
slate group 8¢.4¢. N¢ Tofo of 1925 and her ebony K¢fe¢.owo"¢o
|
| 1076 |
g¢.71/ of 1928 were bequeathed by Miss Gertrude Watson to
|
| 1077 |
the Albright Knox Museum, Buffalo, New York, her Pr¢.»cGff
|
| 1078 |
Be"yw a/ LJg#„d¢ in Japanese wood of 1928 was sold to the
|
| 1079 |
Ijondon County Council, and her GG.71/ £4¢.#4¢.„g in RIsii stone
|
| 1080 |
of 1932 was purchased by Manchester City Art Gaucry. There
|
| 1081 |
is a gap in the album, and there was probably a sharp reduction
|
| 1082 |
in her work, bctwcen 1941 and 1951.
|
| 1083 |
In 1936 she married Gervase Middleton, later Admiral
|
| 1084 |
Middlcton CB, CBE. Some letters from her to Orovida
|
| 1085 |
Pissarro, preserved in the Pissarro archive of the Ashmolean
|
| 1086 |
Museum, describe her lack of enthusiasm for givng dinner
|
| 1087 |
parties for sea-lords and her severe migraines and depression.
|
| 1088 |
She rcccived special treatment in a Chicago hospital in 1947
|
| 1089 |
and seems to have had friends and relatives in the USA (hence
|
| 1090 |
perhaps the subject of the Ashmolcan's carving). Her father
|
| 1091 |
had been an American citizen. The Ashmolcan Museum's
|
| 1092 |
sculpture is included in the album as made in 1962 and sold
|
| 1093 |
to Orovida who may have already owned other sculptures by
|
| 1094 |
her: a photograph in the Pissarro archive of her home,13
|
| 1095 |
Redcliffe Gardens, I.ondon Swlo, taken in the mid-1950s
|
| 1096 |
includes the K¢.feey" g¢.71/ ( probably a work dating from the
|
| 1097 |
1920s) next to the telephone.
|
| 1098 |
The Coloured girl fivm Mac§achusett§ was ."ustratcd .\n
|
| 1099 |
Fcrelyth and Bill Wills's Sc#/¢f#7ic ¢.7¢ Wood (Newton Abbot,
|
| 1100 |
1975 ), a book which expounds the attitude to sculpture which
|
| 1101 |
Dora Clarke herself shared-shape, colour, and texture of
|
| 1102 |
the material suggesting form and subject-matter. Dora Clarke
|
| 1103 |
was still active as a sculptor when this book appeared: the
|
| 1104 |
ebony group 7ZJc /¢.ffg"Gr of 1975-7 is the last work in her
|
| 1105 |
album. Many pieces were removed without authority from
|
| 1106 |
her studio when she left to live in a nursing home.
|
| 1107 |
The album referred to above was acquired by the
|
| 1108 |
Dcpartmcnt of western Art in 1991, together with a portrait
|
| 1109 |
of Dora Clarke by Orovida.
|
23
|
| 1111 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1112 |
Geoffiey CIARKE RA (b.1924)
|
| 1113 |
@@PROCESS
|
| 1114 |
461. Angle and supported bar
|
| 1115 |
12.I cms. (height); 23.5 cms. (length); 7.5 cms. (width)
|
| 1116 |
Aluminium of a grey grade, the surface treated with silicone wax.
|
| 1117 |
Solid, sand-cast, in one piece by the artist at his workshop at Stowe
|
| 1118 |
Hill, Hartest. Stamped under the supported bar with `G C'-the
|
| 1119 |
first initial embracing the second-which encloses a diminutive `64'.
|
| 1120 |
`6/10' and `410' incised to either side of this mark, indicating the
|
| 1121 |
edition.
|
| 1122 |
From the collection of Christopher Hewett ( 1938-83). Given to
|
| 1123 |
the Museum by his family in June 1985 and included in the
|
| 1124 |
exhibition celebrating the gift which was held in the MCAlpine
|
| 1125 |
Gallery in January and February 1987 (no. 34-with marks
|
| 1126 |
catalogued incorrectly ).
|
| 1127 |
Another sculpture (No. 462) and a monotypc by Clarkc were
|
| 1128 |
also included in the ctft. Clarke had exhibited at Hewett's
|
| 1129 |
Taranman Gallery in 1975, 1976, and 1982. This piece was
|
| 1130 |
shown in the latter year but is dated `64' (i.c. 1964) and is
|
| 1131 |
related to A"g/G ¢"d j#4Po7¢¢d hay, a unique aluminium
|
| 1132 |
sculpture 20 inches high, 16 inches wide, and 36 inches long
|
| 1133 |
which was exhibited at the Redfcrn Gallery, 20 Cork Street,
|
| 1134 |
hondon, in L965 (Geo!ffiey Clarhe: Recent Scttl|itttres, r\o. 7 >
|
| 1135 |
illustrated). In the introduction to the catalogue for that
|
| 1136 |
exhibition J. P. Hodin writes of Clarke's sculptures as signs,
|
| 1137 |
and notes the inspiration of ideograms, Klee's paintings,
|
| 1138 |
Picasso's sculpture, and the `calligraphic' character of oriental
|
| 1139 |
bronzes. The aluminium retains some of the texture of the
|
| 1140 |
polystyrene from which the origival model was cut.
|
| 1141 |
24
|
| 1142 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1143 |
Geoffrey CIARKE RA (b.1924)
|
| 1144 |
@@PROCESS
|
| 1145 |
462. Books
|
| 1146 |
18.75 cms. (height); 26.95 cms. (length); 6.3 cms. (width)
|
| 1147 |
Cast aluminium of a grey grade, the surface treated with sihicone
|
| 1148 |
wax, pohished on the three raised edges. Stamped on the lower right
|
| 1149 |
of the raised central rectangular relief area with `G C'-the first
|
| 1150 |
initial embracing the second-which encloses a diminutive `81'; the
|
| 1151 |
number 1 below. Two bolts are attached to the rear for hanging.
|
| 1152 |
Provenance-s with No. 461 (No. 35 in the 1987 exhibition).
|
| 1153 |
There may be a relationship with the twenty-two prints (in
|
| 1154 |
different media-copper engraving, dry-point, etching, and
|
| 1155 |
aquatint) made in homage to 7Z/c fb#Gc 4oofu, the etching by
|
| 1156 |
Hercules Seghers, by fifteen artists (including Henry Moore,
|
| 1157 |
Vieira da Silva, Ubac) for I,c I,¢.prg de /¢.p#Gf by Pierre Lecuire,
|
| 1158 |
published in Paris at the close of 1974 and first exhibited
|
| 1159 |
early in 1975 at Christophcr Hewett's Tararman Gauery.
|
25
|
| 1161 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1162 |
John CIARKE (died 1990)
|
| 1163 |
@@PROCESS
|
| 1164 |
463. Cain and Abel
|
| 1165 |
@@PROCESS
|
| 1166 |
109.2 cms. (height including integral plinth); 77.3 cms. (length
|
| 1167 |
of integral plinth); 39.5 cms. (width of integral plinth)
|
| 1168 |
Bronze with a dull dark grey to brown patina. Hollow, lost-wax,
|
| 1169 |
cast. `TOHN CIARKE' is chiselled in the chamfered side of the plinth
|
| 1170 |
to the right of the female figurc's right foot.
|
| 1171 |
Provenance unrecorded. The sculpture seems never to have been on
|
| 1172 |
public exhibition.
|
| 1173 |
John Clarke enjoyed little reputation as a sculptor. His name
|
| 1174 |
is in no reference books. The style, in particular the boldly
|
| 1175 |
scooped out and simphfied treatment of the heads influenced
|
| 1176 |
by Gauguin's `primitive' style of wood-carving, suggests a
|
| 1177 |
date in the 1920s or 1930s. It seems unlikely that the Museum
|
| 1178 |
could have bought or even have accepted as a gift such a
|
| 1179 |
26
|
| 1180 |
cumbersome work by a completely unknown artist without
|
| 1181 |
any record being made, but it is possible that it was placed
|
| 1182 |
on deposit and never retrieved. Although the figures are male
|
| 1183 |
and fcmalc the group is entitled `Cain and Abel' in a
|
| 1184 |
photograph album of works by Clarke brought into the
|
| 1185 |
Museum by Roger Warncr on 18 Scptcmber 1990. The
|
| 1186 |
caption to the photograph reads as follows `Malc and Female.
|
| 1187 |
The struggle between the positive and negative in nature. An
|
| 1188 |
allegory. Chebel (Abel) Conception, pains of birth. The Ego
|
| 1189 |
in conflict with matter, Having arrived at man and woman
|
| 1190 |
and not being interested outside its drama in the bloody
|
| 1191 |
murder in the Biblical story, I have preferred to dramatise
|
| 1192 |
the kind of murder we most of us commit when we push on
|
| 1193 |
one side a fine attribute in order to let one less fine flourish.'
|
| 1194 |
A photograph of the artist's home, the Malt House near
|
| 1195 |
Burford, taken in 1953, includes a plaster version of the
|
| 1196 |
group.
|
| 1197 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1198 |
S. E. COVELL (active 1810-12)
|
| 1199 |
@@PROCESS
|
| 1200 |
464. Profile portrait allegedly of
|
| 1201 |
Baron Dominique Vivant Demon
|
| 1202 |
7.85 cms. (height of bust); 10.2 cms. (height of oval ground
|
| 1203 |
inside frame); 8.4 cms. (width of oval ground inside frame);
|
| 1204 |
17.1 cms. (height of board); 14.6 cms. (width of board)
|
| 1205 |
Wax, flesh-pink in colour, on a black ground, of paper or card, in
|
| 1206 |
the original oval gilt metal frame, mounted on a black wooden
|
| 1207 |
board. Incised in capital letters in the curve of the cut of the bust
|
| 1208 |
at the arm: `s. E. covELL 1810.' There is an old break from the bridge
|
| 1209 |
of the nose to the upper lip.
|
| 1210 |
Given by Sir Gilbert I.althwaite, GCMG, KCB, of 214 Ashlcy
|
| 1211 |
Gardens, I.ondon Swl, in 1964. Rcdstered on 16 July of that year.
|
| 1212 |
A card origivally pasted to the backboard of the franc carried
|
| 1213 |
a transcription in sepia ink by a mid-nineteenth-century
|
| 1214 |
French hand of a brief biography of Denon, 1747-1825,
|
| 1215 |
Director General of French Museuins under Napoleon and
|
| 1216 |
the cmpcror's art adviser. It mentions the 1829 edition of his
|
| 1217 |
Voyage days la haute et basse Egypee, so .rt "st ha:Ne been
|
| 1218 |
written after that date-considerably after the date of this
|
| 1219 |
portrait. Whilst the profile is not incompatible with other
|
| 1220 |
portraits of Dcnon, one may wonder whether it has not been
|
| 1221 |
confused with another portrait of a different date or whcthcr
|
| 1222 |
it was perhaps not made from the lfc, for 1810 was not a
|
| 1223 |
date at which one would expect to find an English artist in
|
| 1224 |
Paris obtaining a sitting from such a busy official.
|
| 1225 |
Furthermore, in the bronze statue of 1826 by Pierre Cartehier
|
| 1226 |
in the Cimctiere Pare Lachaise, Dcnon's head is not very
|
| 1227 |
silular. The term bust by Joseph Charles Marin exhibited at
|
| 1228 |
the Salon in 1827 (Ijouvre, c.c.179) is no closer. Four other
|
| 1229 |
wax portraits by Mrs Covell are listed in E. J. Pyke's
|
| 1230 |
B~i.ogr.Phi.c?lDictionaryOfWanModellers(Oxiold,r973),
|
| 1231 |
32. All of these arc of British sitters and those that are dated
|
| 1232 |
are of 1810 or 1812. A Miss Covell, painter, exhibited a
|
| 1233 |
portrait at the Royal Academy in 1810.
|
27
|
| 1235 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1236 |
Associate of James COX (active from 1749; d. late 1791 or
|
| 1237 |
January 1792)
|
| 1238 |
@@PROCESS
|
| 1239 |
465. Clock case supported by scrolls
|
| 1240 |
and fantastic fish and flanked by
|
| 1241 |
female personifications
|
| 1242 |
65 cms. (height); 33 cms. (length); 19.7 cms. (width); 19.2 cms.
|
| 1243 |
(diameter of main dial, including franc); 9.5 cms. (height of
|
| 1244 |
miniature painting); 6. 5 cms. (width of miniature painting)
|
| 1245 |
The movement strikes the hours and chimes the quarters on eight
|
| 1246 |
bells. The main enamel dial has two subsidiary ones above: proper
|
| 1247 |
right for regulation, proper left strike silent. `TA§ CoX / LONDON' is
|
| 1248 |
inscribed between the subsidiary dials. Engraved on the brass
|
| 1249 |
backplate: `Jamcs Cox. / Ik>ndon' in a frame of symmetrical rococo
|
| 1250 |
scrolls and tendrils. The glazed oval opening below the main dial
|
| 1251 |
contains a miniature gouache painting on vellum stretched over a
|
| 1252 |
copper plate. Rose silk was origivally visible through the pierced
|
| 1253 |
work of the sides of the case and behind the entangled ribbons and
|
| 1254 |
olive branches around the miniature. This material only survived in
|
| 1255 |
deteriorated fragments attached to a fabric glued in its place about
|
| 1256 |
thirty years ago: it was replaced in 1988.
|
| 1257 |
The case itself is of bronze, fire-dlt. The gilding is tarnished black
|
| 1258 |
in several places. The main body-onsisting of figures, scrolls,
|
| 1259 |
swags below the dial, and fish-was cast in one piece. Plugs are
|
| 1260 |
visible on the knee of the figure to proper left, also on her upper arm
|
| 1261 |
and her shoulder blade. There are several firing cracks, e.g. on the
|
| 1262 |
shoulder blade just mentioned. The acanthus leaves enriching the
|
| 1263 |
four principal scrolls are separately cast and bolted in place (that on
|
| 1264 |
the back leg, proper left, is now loose). The frame for the dials is
|
| 1265 |
also separately cast, as is that for the miniature which is embellished
|
| 1266 |
with the branches and ribbons-portion of these has been broken
|
| 1267 |
off and is rejoined by screws (the photograph of the detached frame
|
| 1268 |
has been taken without this), and other smaller parts have been
|
| 1269 |
reinforced by small plates screwed behind. The elements on top of
|
| 1270 |
the case-the lion, crown, shield, oval walsted socle and its finial-are
|
| 1271 |
all cast separately. The lion's left rear leg is cracked through and
|
| 1272 |
large plugs are easily discerned in his rump. His front left paw is
|
| 1273 |
attached by wire to the finial of the crown.
|
| 1274 |
Bequeathed by J. F. Mallctt in January 1947. Received in the
|
| 1275 |
Museum late May 1947. No.184 in the inventory of his collection
|
| 1276 |
where described as `A clock in English ormolu case, fomed by two
|
| 1277 |
female figures standing on dolphin feet' and valued at £360. Bought
|
| 1278 |
by Mallett at the sale of sir George Donaldson's collection, Puttick
|
| 1279 |
and Simpson, I.ondon, 6-10 July 1925, lot 328. Previously in the
|
| 1280 |
third part of the Hamilton Palace Sale, 3 July 1882, lot 884, fetching
|
| 1281 |
es61. Presumably acquired by the tenth duke of Hamilton ( 1767-
|
| 1282 |
1852 ) in the early nineteenth or, possibly, late eighteenth century.
|
| 1283 |
When in previous collections, and unth very recently in the
|
| 1284 |
Ashmolcan Museum, it was believed that this clock was made
|
| 1285 |
for Henry Benedict, cardinal of York ( 1725-1807), the `last
|
| 1286 |
of the Stuarts', who, on the death of his elder brother the
|
| 1287 |
Young Pretender, in 1788, styled himself Henry IX, king of
|
| 1288 |
England. This was on account of the Stuart arms on the
|
| 1289 |
shield which, since they have a crescent at the honour point
|
| 1290 |
and a prince's crown, must date from before 1788. When
|
| 1291 |
the case is examined from above (which is normally impossible )
|
| 1292 |
and also in its interior it is clear that the crowning elements
|
| 1293 |
28
|
| 1294 |
have all been added-perhaps to give the clock an added
|
| 1295 |
attraction for the duke of Hamilton who was obsessively
|
| 1296 |
interested in royal finilies. The bolts and fixtures inside this
|
| 1297 |
part of the case are distinctive, improvised, and of more recent
|
| 1298 |
date than the others. Outside, the colour of the Slding, when
|
| 1299 |
sccn in a strong light, is not the same as that of the main
|
| 1300 |
body of the case. Above all, the oval waistcd socle behind the
|
| 1301 |
arins does not fit the top of the main case and fans to conceal
|
| 1302 |
the evidence of a former attachment to the front beside the
|
| 1303 |
raised hand of the figure proper left. Although the lion is as
|
| 1304 |
well modelled and tooled as any other part of the case the
|
| 1305 |
royal crown and the leaf capping on the socle behind it are
|
| 1306 |
thin, stamped, mass-produced ornaments. There is no room
|
| 1307 |
for a unicorn although one would certainly have been placed
|
| 1308 |
here had the clock been designed with the royal arms.
|
| 1309 |
The attribution in the Hamilton Palace sale of the miniature
|
| 1310 |
of dancing Bacchanals to `Degault' was modified by Mallett
|
| 1311 |
into `the manner of Degault' and accepted by the Museum
|
| 1312 |
in this form with Degault erroneously identified as `Picrre
|
Marie Gault de Saint-Germain 1754-1842' (after Thieme-
|
| 1314 |
Becker) instead of Jacques-Joseph de Gault or Degault
|
| 1315 |
( 1738-after 1812) (for whom, and for the confusion over
|
names, see C. Jcannerat, `De Gault et Gault de Saint-
|
| 1317 |
Gc;rmirn' , Bulletin de la Soci6t6 de lJhistoire de l'art frantais
|
| 1318 |
( 1935nd), 221-35). But the miniature is not in fact very close
|
| 1319 |
to work by this specialist in `le genre camee'. Degault did
|
| 1320 |
sometimes employ a black ground but his inspiration was
|
| 1321 |
taken from antique gems and cameos, whereas the action of
|
| 1322 |
the dancers recalls the murals discovered in 1749 at Torre
|
| 1323 |
dcll' Annuziata, Pompeii-specially the composition of the
|
| 1324 |
`duc Ballatrici'-murals which were much copied and
|
| 1325 |
imitated in gouache by artists in Naples and Rome such as
|
| 1326 |
Michelangelo Maestri. The modelling of the grey and cream
|
| 1327 |
stipple is as subtle as the tiny touches of pinky terracotta
|
| 1328 |
colour are telling in the wreath of flowers and the rattles of
|
| 1329 |
the castanet. Under magnification traces of gold are evident,
|
| 1330 |
especially in the fircone of the thyrsus. Grisaille painting of this
|
| 1331 |
sort of subject was not unfiniliar in England in the late
|
| 1332 |
eighteenth century (it is found on furniture, for example, the
|
| 1333 |
seasons painted in oval reserves in the corner commodes at
|
| 1334 |
the Lady Lever Art Gallery, Port Sunlight (H 279) ), but no
|
| 1335 |
English artist worked in exactly this medium and mode with
|
| 1336 |
such extraordinary finesse.
|
| 1337 |
It is natural to suppose, as Mallctt did, that since the
|
| 1338 |
movement is English, or at least signed by James Cox of
|
| 1339 |
I.ondon, the ormolu would also be English. Such a point of
|
| 1340 |
view would bc reinforced by the fact that it is certainly not
|
| 1341 |
French. In French ormolu of the second half of the eighteenth
|
| 1342 |
century it would be most surprising to find such cracks and
|
| 1343 |
flaws-lso such rough and vigorous modelling and such
|
| 1344 |
exciting freedom in the tooling of the metal. In France such
|
| 1345 |
a work would also be cast in more pieces. Most obviously,
|
| 1346 |
the fish feet would be cast from the same moulds or pair of
|
| 1347 |
moulds (cf. No. 341 ), whereas here each is different and some
|
| 1348 |
are so distorted as to have only one eye.
|
| 1349 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1350 |
The branches and ribbons, the quatrefoil pattern of the
|
| 1351 |
pierced side panels, the neat swag below the main dial, and
|
| 1352 |
the leaf mouldings framing the dials are all possible in French
|
| 1353 |
design of the period in which Cox worked, but not the fish,
|
| 1354 |
the double clam sheus behind their linked tails, the bold
|
| 1355 |
scrolls, and the general balloon shape. The fish, shells, and
|
| 1356 |
scrolls derive directly from Bernini and the designer of this
|
| 1357 |
must surely have bccn an Itahan or an artist whose taste was
|
| 1358 |
formed in Italy where the work of Bernini and his school
|
| 1359 |
continued to be esteemed and imitated until the close of the
|
| 1360 |
eighteenth century.
|
| 1361 |
This blend of the baroque and nco-classicism is
|
| 1362 |
characteristic of Sir William Chambers ( an observation I owe
|
| 1363 |
to Charles Truman), especially if one considers his State
|
| 1364 |
Coach. However, the clocks actually made to his designs by
|
| 1365 |
Matthew Boulton's craftsmen are neat architectural pieces not
|
| 1366 |
vigorous sculptural ones. The figures are similar to those that
|
| 1367 |
one finds in the sculpture of Joseph Wilton (who sometimes
|
| 1368 |
collaborated with Chambers) and of Joseph Nollckens (who
|
| 1369 |
is known to have made a bust of Catherine the Great for
|
| 1370 |
James Cox). Against the idea that the case was made in
|
| 1371 |
Entland is the miniature (although this could have been
|
| 1372 |
imported), the absence of comparable English ormolu, and
|
| 1373 |
the existence of a porcelain clock in the Victoria and Albert
|
| 1374 |
Museum (3645 and 3645a-1856) obviously modelled on this
|
| 1375 |
one which is supposed by experts to be from an Italian factory
|
| 1376 |
(or, as John Mauett has proposed, from the Buen Retiro
|
| 1377 |
factory, Madrid, which had many links with Italy).
|
| 1378 |
James Cox, whose name appears on the clock, was
|
| 1379 |
established at the Golden Urn, Racquet Court, Fleet St,
|
| 1380 |
I.ondon, by 1749. By 1751 his rococo trade card was
|
| 1381 |
announcing in three languages that James Cox, `Goldsmith
|
| 1382 |
. . . makes great variety of curious work in gold, silver and
|
| 1383 |
other metals; also in amber, pearl, tortoiseshell and curious
|
| 1384 |
stones', and was also a dealer-`N.B. Buys gold, silver, curious
|
| 1385 |
stones, amber, jewels and curiosities'. He moved to Shoe
|
| 1386 |
Lane and formed a partnership with an Edward Grace 1756-
|
| 1387 |
9, but little otherwise is known of him before 1769 when he
|
| 1388 |
acquired the Chelsca porcelain factory fi.om Nicolas Sprimont.
|
| 1389 |
This hc sold, after a very short period, in 1770. In 1772 he
|
| 1390 |
opened a museum of his jewelled automata-flute-playing
|
| 1391 |
Chinamen and gemstone flies and flowers, and so on-at
|
| 1392 |
Spring Gardens, for which a descriptive catalogue was
|
| 1393 |
published, and in May of the following year a Bill was passed
|
| 1394 |
in Parliament enabling him to sell his `magnificent pieces of
|
| 1395 |
mechanism and jcwellery' by lottery. The catalogue for this
|
| 1396 |
also survives in the preface for which hc supplies a defence of
|
| 1397 |
luxury, claiming that his exports `havc brought more than
|
| 1398 |
half a million sterling to the port of I.ondon within the last
|
| 1399 |
seven years' and pointing out the `grcat number of artists
|
| 1400 |
and workmen he cmployed'. He was declared bankrupt in
|
| 1401 |
November 1778. Claire I.e Corbelher (in `James Cox: A
|
| 1402 |
Biographical Review', B#7i/z.7g;gro7£ A4l¢g¢zG.»c (June 1970 ),
|
| 1403 |
35lnd), from whom the above facts arc derived, points out
|
| 1404 |
the common stylistic denominators in the extant pieces which
|
| 1405 |
Cox is known to have supplied-hicfly miniature boxes and
|
| 1406 |
commodes with symmetrical rococo ornament in gold
|
| 1407 |
involving clockwork and jewels and hardstones-and they
|
| 1408 |
certainly have nothing in common with the clock in the
|
| 1409 |
Ashmolean. On the other hand Cox must have handled many
|
| 1410 |
items which were not in this `housc style' and the clock is on
|
| 1411 |
a different scale. There is evidence of Cox's interest in ormolu
|
| 1412 |
in larger works, a marble chimney-piece `inlald with ormolu'
|
| 1413 |
is described by William Hickcy, and Cox's acquisition of the
|
| 1414 |
Chelsea porcelain factory may have been associated with
|
| 1415 |
schemes for providing omolu mounts for porcelain (ibid.
|
| 1416 |
@@PROCESS
|
| 1417 |
351-2).
|
| 1418 |
The ormolu clock, if made in England, would be likely to
|
| 1419 |
have been designed for export to a foreign court-Cox, as
|
| 1420 |
we have seen, emphasized his export business and he seems
|
| 1421 |
to have made his most remarkable automata as diplomatic
|
| 1422 |
Sfts for the merchant companies to present to exotic
|
| 1423 |
potentates, the Chinese emperor in particular. If taken or
|
| 1424 |
sent to Naples that would explain the miniature and it would
|
| 1425 |
also have been accessible there to designers of the Buen
|
| 1426 |
Retiro porcelain factory who might have been responsible for
|
| 1427 |
the clock now in the Victoria and Albert Museum.
|
| 1428 |
This porcelain version of the clock has, no subsidiary dials
|
| 1429 |
and no miniature. These differences however were no doubt
|
| 1430 |
conditioned by factors beyond the control of the designer
|
| 1431 |
who, in other rcspccts, tried to follow the ormolu example
|
| 1432 |
closely. There is good reason therefore to suppose that the
|
| 1433 |
stand for the porcelain clock with concave sides provides an
|
| 1434 |
accurate idea of one which was origivally a part of the ormolu
|
| 1435 |
clock, and also that the seated figure of Time on the top is
|
| 1436 |
copied from such a figure origivally crowning the ormolu
|
| 1437 |
clock. (The positions of Time's ovcrhangivg feet correspond
|
| 1438 |
with places on the top of the clock to which attachments were
|
| 1439 |
origivally made. ) As it stands at present the attitudes of the
|
| 1440 |
figures in the ormolu version make no sense, but in the
|
| 1441 |
porcelain version it is possible to see that they must have been
|
| 1442 |
holding, or at least indicating, attributes, or an attribute, just
|
| 1443 |
passed to, or taken from, Time. What was intended would
|
| 1444 |
be casicr to guess if we knew what the figures pcrsonificd. In
|
| 1445 |
the ormolu version there is a portion of a rudder with a bird's
|
| 1446 |
head terminal ornament peeping out beside the breast of the
|
| 1447 |
figure proper left ( something omitted in the porcelain
|
| 1448 |
version). This is an attribute commonly given to Fortune and
|
| 1449 |
sometimes to Abundance. And yet the seated figure of Time
|
| 1450 |
on the porcelain clock poses an additional problem. It is
|
| 1451 |
closely dcrivcd from a model, probably origivally designed as
|
| 1452 |
part of a group involving the Fates, piece-moulds of which
|
| 1453 |
survive in the Museum of the Ginori porcelain factory at
|
| 1454 |
Doccia. Documents show that Vincenzo Fogdni was paid to
|
| 1455 |
make waxes of this figure in 1725 and it was incorporated in
|
| 1456 |
the great allegorical ensemble alorifying the Medici made of
|
| 1457 |
Doccia porcelain in 1757 (K. Lankhcit, D;G 44lode//f¢7"7"/#"g
|
| 1458 |
her Porz,ellanmanuf aktttr Doccia (M:un!+ch, L982), +60,
|
| 1459 |
pl. 223, no. 87; also colour plate I). It had first been used as
|
| 1460 |
a gilt bronze figure crowning a clock of ebony and P¢.c£7ic d#rG
|
| 1461 |
now in the Bulgari Couection in Rome for which there are
|
| 1462 |
drawings by Giovanni-Battista Fogdni in the Uffizi dated to
|
| 1463 |
±7+3-18. (A. Gonz6lez-Pa+a[ctos,11 tempio delgttsto (In
|
| 1464 |
Toscana e l'Italia settantrionale), 2 vo\s. (M:flan, 1986), i. 44
|
| 1465 |
and ii, fig. 89.)
|
29
|
| 1467 |
BRITISH SCULPTURES, BY ARTIST'S NAME BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1468 |
Perhaps Buen Rctiro factory, Porcelain Clock.
|
| 1469 |
Victoria and Albert Museum, I.ondon
|
31
|
| 1471 |
BRITISH SCULI'TURES, BY ARTIST'S NAME
|
| 1472 |
`G.C.D.' (dates unknown)
|
| 1473 |
@@PROCESS
|
| 1474 |
466. Profile medallion bust portrait
|
| 1475 |
of Sammy Woods
|
| 1476 |
32 cms. (height); 28.5 cms, (width)
|
| 1477 |
Bronze with a dark brown dull patina. Sand cast. The reverse is
|
| 1478 |
hollow. The initials `G.C.D.' are chiselled to proper left beside the
|
| 1479 |
neck. There are four attachment points for bolts in the reverse which
|
| 1480 |
is painted with coarse capital letters in black `sAMMy / wooDs'.
|
| 1481 |
The bronze has been kept in the Hebcrdcn Coin Room as part of
|
| 1482 |
the vast collection, mostly of British medals, purchased from Colonel
|
| 1483 |
Michael H. Grant in 1953. The crude lettering is Grant's, but I
|
| 1484 |
have not traced this item in his manuscript catalogue.
|
| 1485 |
It is assumed that `G.C.D.' are the initials of the artist and
|
| 1486 |
that Sammy Woods is the name of the sitter. It has not been
|
| 1487 |
possible to identify a sculptor with these initials working in
|
| 1488 |
the 1920s or 1930s. He or she may well have been an
|
| 1489 |
amateur: the sculpture is certainly of poor quality and very
|
| 1490 |
poorly cast.
|
| 1491 |
The Hon. Anne Seymour DAMER ( 1748-1828)
|
| 1492 |
@@PROCESS
|
| 1493 |
467. Bust portrait of prince Henry
|
| 1494 |
Lubomirski in the character of
|
| 1495 |
Bacchus
|
| 1496 |
54 cms. (height, including integral socle and plinth); 25 cms.
|
| 1497 |
(length of plinth); 23 cms. (width of plinth)
|
| 1498 |
Carrara marble. Intcgra.I base and plinth. Small chips; the corner of
|
| 1499 |
the plinth repaired with plaster. The following letters, on the side
|
| 1500 |
of the base to proper left, are chiselled with a distinctive drill-hole
|
| 1501 |
at the termination of each stroke: AIVIVA 2JEJA40PJZ /
|
| 1502 |
4£4A4EP / EJ70JE/ [Anne Seymour Damer fecit].
|
| 1503 |
Transferred `on revocabledcposit' from the Bodleian hibrary in
|
| 1504 |
1897 (authorized by Convocation 16 February 1897; received by
|
| 1505 |
Museum 25 February). The bust was in the Bodleian Gallery
|
| 1506 |
according to James Dallaway in a footnote to his `Advertisement'
|
| 1507 |
[Preface] to the 1826 edition of Horace Walpolc's A„ccdofGf a/
|
| 1508 |
P#¢.»f¢.„g ¢." E»g/¢„¢. Exhibited at the Royal Academy in 1788 as
|
| 1509 |
no. 607 (`Head of a boy in the character of Bacchus; marble'). An
|
| 1510 |
engraving in stipple by John Jones after a drawing by James Roberts
|
| 1511 |
was published by the same engraver and draftsman togcthcr on 26
|
| 1512 |
June 1790, the former with an Oxford address (Hogarth's Passage),
|
| 1513 |
apparently previous to its acquisition by the University. In the 1960s
|
| 1514 |
the bust was displayed in the Chambers Hall Room near the
|
| 1515 |
Nollekcns of Mrs Howard (No. 557). I.ong in reserve, it was placed
|
| 1516 |
in the Director's office in 1985.
|
| 1517 |
The Greek lettering on the marble is less pretentious than
|
| 1518 |
might be supposed, since Horace Walpolc noted of his
|
| 1519 |
protege that she `writes Ijatin like Pliny and is learning Greek
|
| 1520 |
. . .'. In addition, having been taught marble carving by John
|
| 1521 |
Bacon, she was introduced by another admirer, the
|
| 1522 |
connoisseur, collector, and Greek scholar Richard Paync
|
| 1523 |
Knight, to the principle that the ancient Greeks had always
|
| 1524 |
been responsible for the final execution of their work, in
|
| 1525 |
marble and bronze, as well as for the preliminary modelling,
|
| 1526 |
valuing the tooling which gave vitalty to the surface of the
|
| 1527 |
sculpture. Thus the Greek lettering may have a somewhat self-rightcous.,
|
| 1528 |
even polemical, point. The marble is everywhere
|
| 1529 |
enlivened by traces of the rasp.
|
| 1530 |
Prince Henry ( 1777-1850), son of Duke )osef Lubomirski
|
| 1531 |
and Ludwika Sosnowskich of Poland, was adopted at the age
|
| 1532 |
of 6 by his wealthy, art-loving, and childless aunt, the Duchess
|
| 1533 |
Isabella Czartoryskich Lubomirska. Infatuated with his
|
| 1534 |
beauty, she paraded him in high society in several European
|
| 1535 |
cities and had him immortalLcd by many of the leading artists
|
| 1536 |
of the day. The prince was painted by Fricdrich-Hcinrich
|
| 1537 |
Ftigcr, Angelica Kauffmann, Grcuzc (three times-see the
|
| 1538 |
entry for lot 167 in the catalogue of Sotheby's New York sale
|
| 1539 |
4 June 1987), and Elizabeth Vigee-Lebrun (as Eros, in a
|
| 1540 |
painting now in the Staatliche Museen, Benin-Dahlcm), and
|
| 1541 |
was portrayed by Canova (also as Eros in a statue at Anglcsey
|
| 1542 |
Abbey near Cambridge and in another version at Lancut).
|
| 1543 |
Prince Henry and his aunt were in Ijondon between May
|
| 1544 |
and July 1787 and this would seem to have been the most
|
| 1545 |
likely date for the sittings for the bust portrait, although Mrs
|
| 1546 |
Damer could have travelled to Paris later in the year. (See M.
|
| 1547 |
Paskicwicz in %#2;G#% Po/j:leg.G ( 1977), 2/1 (VI), 23-31.) If,
|
| 1548 |
as was likely, Damer's marble bust formed part of Isabeua's
|
| 1549 |
collections it would have been removed by her to Lancut in
|
| 1550 |
1791. The prince bccanc first curator of the Ossolineum
|
| 1551 |
Institute in Lvov, a libray which also printed scholarly
|
| 1552 |
editions of the classics. This may wcu have involved him in an
|
| 1553 |
association with the Bodleian Library.
|
| 1554 |
MrsDanerwaspartialtoportraitureofthistype.HcrBoy
|
| 1555 |
¢f "G~c#ey was cxhibitcd at the Royal Academy in 1787
|
| 1556 |
(no. 625); she showed a C»G.% ¢f P¢z¢.I in 1788 along with
|
| 1557 |
this bust (no. 599); in the following year her 777¢/¢.a (no.
|
| 1558 |
@@PROCESS
|
| 1559 |
585, National Portrait Ganery 4469) was in fact a portrait of
|
| 1560 |
the actress Etiza Farren; and her bust of Mrs Freeman as Isis
|
| 1561 |
ofc.1790(VictoriaandAlbertMuseun,A.31-1931)includes
|
| 1562 |
a sistnim on the soclc placed at an ande like the rty7J%J on
|
| 1563 |
Prince Hcnry's. Her work is not much varied and the blank
|
| 1564 |
expression, limited portion of the chest, frontal presentation,
|
| 1565 |
andinchiationoftheheadfoundinthisworkaretypicalof
|
| 1566 |
most of her portrait sculpture (the marble self-portrait
|
| 1567 |
presented to RIchard Paync REight and bequeathed to the
|
| 1568 |
British Museum togcthcr with his antique sculpture is
|
| 1569 |
cspeciallyclose).Somcofthcscformalcharacteristicsmayhave
|
| 1570 |
bcendcterminedbythcdisplayofthcbustsonhighchimneyL
|
| 1571 |
pieces. The observation of her fiend and admirer Thomas
|
| 1572 |
Hn=F_i.i.th=P.refac.eto_±s_Houscho|dFuini-;u=e--a;;V|`tLt-e%or
|
| 1573 |
DGcoz¢£¢.o»((London,1807),47)isalsorelevant:`theGrecian
|
| 1574 |
method of cutting the chest square, and placing its whole
|
| 1575 |
mass immediately on a tcm or other solid support-, seems
|
| 1576 |
muchpreferabletothemorcprcvalingoneoffinishingor
|
| 1577 |
roundingoffthatchest,andbalancingitscenteronlyona
|
| 1578 |
slender and tottering pivot'.
|
| 1579 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1580 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1581 |
James S. DEVILLE ( 1776-1846)
|
| 1582 |
@@PROCESS
|
| 1583 |
468. Bust portrait of John Shute
|
| 1584 |
Duncan
|
| 1585 |
69 cms. (height)
|
| 1586 |
Plaster of Paris, painted yellow (not shellac and not absorbed by the
|
| 1587 |
plaster). Hollow cast in two parts: the socle is separately cast and
|
| 1588 |
attached. `|. DEVILLE F'r PUBD March 18 1825' is incised in the model
|
| 1589 |
across the back of the bust above the hollow. `TOHN SHUTE DUNCAN.
|
| 1590 |
M.A. / KEEPER oF ASHMOLE'S MUSEUM / died 1844' is painted in
|
| 1591 |
black in the hollow of the soclc. A portion of the back of the socle
|
| 1592 |
to proper right has been broken off and lost.
|
| 1593 |
Presumably presented to the Ashmolean Museum in the mid-nineteenth
|
| 1594 |
century. Possibly once in the Radcliffe Camera.
|
| 1595 |
John Shute Duncan ( 1769-1844) was unanimously elected
|
| 1596 |
Keeper of the Ashmolcan on 17 November 1823. He
|
| 1597 |
undertook a thorough reorganization of the Museum,
|
| 1598 |
initiating building work, extensive redccoration, relabelling,
|
| 1599 |
cleaning, and conservation: the Eskimo dresses wcrc washed
|
| 1600 |
and the crocodiles varnishcd. Many new benefactions were
|
| 1601 |
elicited by him and hc himself gave numerous zooloScal
|
| 1602 |
specimens to the Museum. When he married in 1829 he
|
| 1603 |
resigned the Keepership. He was awarded an Hon. DCL in
|
| 1604 |
the following year. By then his brother Phihp Bury Duncan
|
| 1605 |
had been elected as his successor (R. F. Ovencll, T%e
|
| 1606 |
j4j¢owo/e¢" M#JG#ow J683-1894 (Oxford, 1986), 189-98).
|
| 1607 |
Deviue was a plaster figure maker of Newport Strcct, Soho.
|
| 1608 |
He had acted as an assistant to Nollekens and purchased that
|
| 1609 |
artist's moulds. He also practised as an origival sculptor. The
|
| 1610 |
GG"#/Gow¢~'J M¢g¢2;¢.„e, noting his death ( 1846, 2: 104)
|
| 1611 |
described him as a `lamp manufacturcr' and a `phrcnoloSst'
|
| 1612 |
as well-the lamps were doubtless cast plaster figures holding
|
| 1613 |
lampsandthephrenologywasperhapsconnectedwithmaking
|
| 1614 |
casts of heads. It may be that Duncan came into contact with
|
| 1615 |
Devi]1e because of some casts (including the APo/Zo BG/pcde7iG
|
| 1616 |
and the D;Jcofo/#f) which he and his brother presented to
|
| 1617 |
the Bddcliffe Camera (Ovencll, op. cit. 189). According to R
|
| 1618 |
Gunnis, Dictionary Of ` British Sculptors (.London, +968), \30..
|
| 1619 |
a bust of Duncan by Deville was in the Radcliffe Camera, and
|
| 1620 |
a it may be that this bust was origivally there.
|
| 1621 |
34
|
| 1622 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1623 |
Sir William Reid DICK Kcvo, RA ( 1879-1961 )
|
| 1624 |
@@PROCESS
|
| 1625 |
469. Crouching female nude
|
| 1626 |
23.2 cms. (height); 13.3 cms. (length of base)
|
| 1627 |
Chalk. Incised on the rock base `W. Reid Dick/ 1916 / Cabaret
|
| 1628 |
Rouge / Souchez' with a scparatc label `Carved out of Chalk / in
|
| 1629 |
the Trenches of/ the Vimy RIdge / 1916 / By W. Reid Dick'.
|
| 1630 |
Bequeathed by Major Thomas Bouch, Master of the Bclvoir Hunt.
|
| 1631 |
Bouch, who had been an undergraduate at Magdalen 1901-3, died
|
| 1632 |
on I May 1963. In his will, communicated by his solicitors on 13
|
| 1633 |
May, he wrote of his desire to bequeath to Oxford University his
|
| 1634 |
I.abrador quartz specimen table and `also my nude female figure
|
| 1635 |
carved by Reid Dick out of the chalk of the trenches of the Vimy
|
| 1636 |
RIdge in World War 1914-18 when he himself was in the second
|
| 1637 |
reserve line of trenches. He told me he persuaded a boy in the
|
| 1638 |
Kensington Regiment to pose for him.' Bouch also wanted Oxford
|
| 1639 |
to have `all my pictures or such of them as the Directors of the
|
| 1640 |
Museum may select'. Some of the paintings were accepted and
|
| 1641 |
others were sold to establish an acquisitions fund. On the
|
| 1642 |
Department's copy of the probate inventory of Ashome, Warwicks.,
|
| 1643 |
Major Bouch's home, the chalk figure is mentioned by Robertson
|
| 1644 |
as something the deceased had particularly wished to be preserved.
|
| 1645 |
Oddly, and no doubt in error, it is not listed on the receipt of 20
|
| 1646 |
November 1963.
|
| 1647 |
The story of the boy model mentioned by Bouch in his will
|
| 1648 |
is peculiar. He must have had the most astonishing hips and
|
| 1649 |
buttocks. Another model may have been found in the
|
| 1650 |
mysterious `Cabaret Rouge'. The inspiration is obviously the
|
| 1651 |
fcmalcs in similar postures in the work of Rodin.
|
35
|
| 1653 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1654 |
Probably foundry of Alessandro Parlanti, Parson's Green,
|
| 1655 |
Fulham
|
| 1656 |
After Sir Wihiam Reid DICK Kcvo, RA ( 1879-1961)
|
| 1657 |
@@PROCESS
|
| 1658 |
470. The Catapult
|
| 1659 |
31.25 cms. (height of bronze); 2. I cms. (height of plinth);
|
| 1660 |
11.10 cms. (length of plinth); 7. I cms. (width of plinth)
|
| 1661 |
Bronze with a dark green-brown patina tending to a warmer brown
|
| 1662 |
at the naturalistic base. Hollow, lost-wax, cast. Incised `W. Reid
|
| 1663 |
Dick' in the model on a projection at the back of the naturalistic
|
| 1664 |
base to proper left of the boy's left foot. Bolted to a plinth of Siena
|
| 1665 |
yellow marble with mauve and white veins.
|
| 1666 |
Bequeathed by the Revd J. W. R. Brocklcbank in November 1926.
|
| 1667 |
No.16 on Andrew Shirley's receipt of January 1927 as `Nude boy
|
| 1668 |
drawing a catapult'.
|
| 1669 |
The figure was exhibited by Reid Dick at the Royal Academy
|
| 1670 |
in 1911 as a bronze statuette about 2 ft tall. This cast is now
|
| 1671 |
in Bradford City Art Gallery and Museum, Cartwright Hall,
|
| 1672 |
and other casts this size exist (one was in a private collection
|
| 1673 |
in Oxford). Half-size casts such as this example are abundant
|
| 1674 |
and arc often mounted on similar Siena yellow marble plinths,
|
| 1675 |
with slightly rounded corners, as in this case. Praised by H.
|
| 1676 |
Granville Fell in his little book on the artist as `a well-balanced,
|
| 1677 |
tense figure, precise in modelling and displaying assured
|
| 1678 |
scholarship throughout' (RG¢.¢ D;cfe (Ijondon,1945), pl. 2),
|
| 1679 |
it recalls elements of both the two most famous of Leighton's
|
| 1680 |
sculptures (Nos. 532-3).
|
| 1681 |
The founder of most casts of the C¢£¢P#/£ was John
|
| 1682 |
(Giovanni) Gahzia. He came to England from Sicily in 1912
|
| 1683 |
and worked for Parlanti where he became foreman. Like his
|
| 1684 |
Italian contemporaries Mancini and Giovanni Fiorini, who
|
| 1685 |
were also employed by Parlanti, he then started his own
|
| 1686 |
business. After a partnership with Fiorini in the Peterborough
|
| 1687 |
Road, Chelsea, during the 1920s, Galizia opened a foundry
|
| 1688 |
at 36 York Road, Battersea, in October 1930. By the time of
|
| 1689 |
his death in 1958 the foundry had moved to Chatfield Road,
|
| 1690 |
Battersea, where his son was still managivg it in 1988.
|
| 1691 |
Galizia's contract book (which his son kindly showed me)
|
| 1692 |
records an order for 3 C¢£#P%/£J on 2 June 1933 at 20
|
| 1693 |
guineas, another for 3 on 20 December at £21 10s., another
|
| 1694 |
for 2 on 6 October 1945 at £15 each, then one for I `large
|
| 1695 |
catapult' at fl5 on 14 December 1945, one for 2 small
|
| 1696 |
C¢£#P„/£f at fl5 each on 9 July 1946, one for two large and
|
| 1697 |
two small C¢}ap#/£f (at £30 and £20 each) on 18 June 1947,
|
| 1698 |
and lastly one for two small C¢£ap„/£r at £20 each on 30
|
| 1699 |
June 1948. All these orders seem to have been placed by the
|
| 1700 |
sculptor. In addition one cast of the larger version was
|
| 1701 |
commissioned for £40 by Ijady Dick on 21 March 1965. The
|
| 1702 |
contract book reveals that Dick gave Galizia much
|
| 1703 |
employment, preferring to use his foundry for all his smaller
|
| 1704 |
work in bronze. Yet the Ashmolean's cast cannot have been
|
| 1705 |
cast by Galizia's foundry, since it dates from before 1927. It
|
| 1706 |
is likely that Dick employed Galizia because he had formerly
|
| 1707 |
employed Parlanti and was aware of his work at that foundry.
|
| 1708 |
36
|
| 1709 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1710 |
Fran€ois DIEUSSART ( c.1600ndl )
|
| 1711 |
@@PROCESS
|
| 1712 |
471. Bust portrait of prince Rupert
|
| 1713 |
71.8 cms. (height of bust); 18.4 cms. (height of socle); 26 cms.
|
| 1714 |
(length of socle); 21.6 cms. (width of socle)
|
| 1715 |
Carrara marble, severely weathered, battered, and soiled. The nose
|
| 1716 |
is restored in plaster. There are many minor losses: e.g. portions of
|
| 1717 |
the lace collar on proper left side, a curl above the centre of the
|
| 1718 |
forehead, a curl at the proper left shoulder. Much detal is almost
|
| 1719 |
worn away: e.g. ornamental fringe of cloak to proper left, little bow
|
| 1720 |
at centre of the lace collar. The proper left side of the bust has been
|
| 1721 |
detached and refixed and may always have been pieced. Mounted
|
| 1722 |
on its original socle of rectangular plan modified with a segmental
|
| 1723 |
projection in front; the sides hollowed to balance the projection.
|
| 1724 |
`ROBERrvus / DEI G . cOMEs / PAL . RHEN . / Dux BAVAR . / AETA . i7
|
| 1725 |
AN.1637' is chiselled on the curved front face of the socle.
|
| 1726 |
Given to the University by the dowager countess of Pomfret in
|
| 1727 |
1755. Acquired by her father-in-law, Sir William Fermor (later I.ord
|
| 1728 |
Leicester) from the sixth duke of Norfolk in 1691 together with the
|
| 1729 |
Arundel marbles collected by Thomas Howard, second earl of
|
| 1730 |
Arundel. This bust must have been commissioned by, or presented
|
| 1731 |
to, the second earl. It was exhibited in the Old Schools together
|
| 1732 |
with the other Arundel marbles and is visible on a shelf together
|
| 1733 |
with the bust of Henry VIII (No. 599) at one end of the gallery in
|
| 1734 |
the drawing by William Westall dated 1813.
|
| 1735 |
Prince Rupcrt and his brother Charles-I.ouis were in England
|
| 1736 |
1635-7 to try to persuade their uncle, King Charles I, to
|
| 1737 |
support their claims to the Palatinate. The earl of Anindel's
|
| 1738 |
embassy in 1636 to the Holy Roman Emperor on the king's
|
| 1739 |
behalf and in this cause may be connected with the existence
|
| 1740 |
of this bust and its pair (also dated 1637, with identical soclc
|
| 1741 |
but in superior condition) at Arundel Castle, Sussex. An earlier
|
| 1742 |
bust of the king himself, dated 1636, is also at Arundel Castle.
|
| 1743 |
This suggests that Arundel was a patron of Dieussart from
|
| 1744 |
the commencement of the sculptor's residence in this
|
| 1745 |
country, for he is first recorded as working here in that year,
|
| 1746 |
making a `Paradise of Glory' for the Queen's Chapel. Anlndel
|
| 1747 |
may indeed have encouraged hin to come to England from
|
| 1748 |
Rome where he had been employed by the Barberini-see
|
| 1749 |
D. Howarth, Lord Arttndel and his Circle (INow Haven,
|
| 1750 |
Conn., and I.ondon, 1985), 161 ff.
|
37
|
| 1752 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1753 |
Fran¢ois DIEUSSART ( c.1600ndl )
|
| 1754 |
@@PROCESS
|
| 1755 |
472. Bust portrait of Thomas
|
| 1756 |
Howard, earl of Anmdel
|
| 1757 |
90.2 cms. (height of bust); 24.8 cms. (height of socle)
|
| 1758 |
Carrara marble, severely weathered, battered, and soiled. Ths bust
|
| 1759 |
was dragged carlicr in this century from a burning house and lay
|
| 1760 |
for a while neglected and dirty in an outhouse where, however, Sir
|
| 1761 |
Oliver Millar detected it and recommcndcd its rc-erection. The
|
| 1762 |
nose was then repaired, but the missing right shoulder was not
|
| 1763 |
rcplaccd. The clean break here and the character of the hollowed
|
| 1764 |
back of the bust suggests that Dieussart must have used a scparatc
|
| 1765 |
block of marble for this area (as may also have been the case with
|
| 1766 |
No. 471). The bust was cleaned in part and extensively restored on
|
| 1767 |
acquisition by Kathleen Kimber of the Department of Antiquities
|
| 1768 |
working under the direction of Mark Norman. Mrs Kimber built up
|
| 1769 |
the proper left shoulder, the proper right eyebrow, the front of the
|
| 1770 |
collar, and the lower portions of the cloak folds across the chest and
|
| 1771 |
also devised a talbot to match the lion supporter in the socle and
|
| 1772 |
completed the broken head of the horse projeedng at the front of
|
| 1773 |
the socle through the c¢rfz//;"a to match those to either side.
|
| 1774 |
Mounted on the massive white baluster-shaped pedestal origivally
|
| 1775 |
38
|
| 1776 |
devised for the bust of Cromwell (see No. 558). For a photograph
|
| 1777 |
of the bust as it was previous to Mrs Kimber's work see the exhibition
|
| 1778 |
Thomas Howard Earl Of Arundel cked below. p. \3.
|
| 1779 |
Bought from Mr and Mrs Neville Howard of Greystokc Castle in
|
| 1780 |
January 1987 for £50,000 with contributions: £25,000 from the
|
| 1781 |
Regivnal Fund administered by the Victoria and Albert Museum,
|
| 1782 |
£12,500 from the National Art-Collections Fund, £10,000 from
|
| 1783 |
the Central Purchasing Fund, and ca,500 from the Blakiston Fund.
|
| 1784 |
The National Art-Collections Fund made its contribution in
|
| 1785 |
memory of sir Ellis Waterhouse. The bust had never left the Museum
|
| 1786 |
since being loaned to the exhibition 777oow¢f Hoty¢7i¢ E¢#/ a/
|
| 1787 |
47i¢¢"de/ in 1985. It was crectcd, after restoration, in the central
|
| 1788 |
niche at the head of the staircase in December 1987, replacing the
|
| 1789 |
statue of Judith (No. 473). It had always been in the Howard finily
|
| 1790 |
and was presumably made for the sitter; it was probably taken to
|
| 1791 |
Greystoke in the eighteenth century.
|
| 1792 |
For Dicussart's career in England see Nos. 471 and 473. The
|
| 1793 |
portrait, one of the most ambitious bust sculptures executed
|
| 1794 |
in Britain in the seventeenth century, may well have been
|
| 1795 |
intended for Anmdel House and have prcsidcd over the great
|
| 1796 |
collections assembled by the earl there, including the ancient
|
| 1797 |
marbles, many of which are now in the Ashmolean Museum.
|
| 1798 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1799 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1800 |
Perhaps by Fran€ois DIEUSSART ( c.1600ndl )
|
| 1801 |
@@PROCESS
|
| 1802 |
473. Judith with the head of
|
| 1803 |
Holofemes
|
| 1804 |
@@PROCESS
|
| 1805 |
136.5 cms. (height including the portion of the integral marble
|
| 1806 |
base proud of the `capital' of the pedestal); 38.5 cms. (width of
|
| 1807 |
marble base)
|
| 1808 |
Canara marble, severely weathered and battered. Cleaned July 1988
|
| 1809 |
by Kathlecn Kimber, using the steam method. The plaster
|
| 1810 |
restorations were renewed at the same date. The chief of these is
|
| 1811 |
part of the loop of fringed drapery to the figurc's left where it
|
| 1812 |
touches the figurc's skirt. The small toe of Judith's left foot is broken
|
| 1813 |
off, the toe next to it chipped. Her right arm is broken at the sleeve.
|
| 1814 |
It would have made contact with the skirt again, presumably at the
|
| 1815 |
wrist, and would have probably held a sword. A loss on the skirt
|
| 1816 |
indicates this point of contact. A loop of drapery above her left
|
| 1817 |
brca§t would presumably have been fastened to the jewel to match
|
| 1818 |
that above her right breast. Mounted on a pedestal with a p¢.Gfrfz
|
| 1819 |
fG#G#¢ `capital' and plinth; the integral base of the marble figure has
|
| 1820 |
been sunk and cemented into the `capital'.
|
| 1821 |
`Found in the basement' in 1934 (by K. T. Packer). Given to the
|
| 1822 |
University by the dowager countess of Pomfret in 1755. Recorded
|
| 1823 |
by George Vertue as among the `Anindel Marbles'. Presumably
|
| 1824 |
made for, or acquired by, the earl of Arundel in the seventeenth
|
| 1825 |
century. Placed by Parker on the present pedestal, which was adapted
|
| 1826 |
for the statue by Helen Munro and Robert Goodcn, and in the
|
| 1827 |
principal iiiche at the head of the main staircase (replacing the bust
|
| 1828 |
of woodbum-see No. 448). Moved in November 1987 to the
|
| 1829 |
Randolph Gallery. Given an accession number by the Department
|
| 1830 |
of Antiquities in 1988 (G. 1277, and G. 1278 for the `altar'-i.e.
|
| 1831 |
the pedestal. )
|
| 1832 |
As Parker was the first to notice, there is a related bronze
|
| 1833 |
statuette,18.5 cms. high, in Berlin (now Staatliche Museen,
|
| 1834 |
Benin-Dahlem, no.1816). Jacob Hess, publishing this in
|
| 1835 |
r967 (Kunstgeschichtliche Studien in Renaissance and
|
| 1836 |
B¢7ioc4, ii (Rome, 1967), 161, pls. 13-14), pointed to
|
| 1837 |
similarities with Nicolas Cordier's P7'r¢¢de#cG in the
|
| 1838 |
Aldobrandini Chapel and Berthclot's angels in the Borghese
|
| 1839 |
Chapel in Rome. Sylvia Pressouyre questioned this and
|
| 1840 |
suggcstcd that the Berlin bronze looks like a 4oz2;G#o for the
|
| 1841 |
Ashmolcan J#d¢.£4 rather than a replica of it. ( Bo2;2##¢.,
|
| 1842 |
however, were not commonly made in bronze.) She
|
| 1843 |
recommends that the sculptor of the statue and of the
|
| 1844 |
4o2;2;c#o-she assumed that they arc the same-bc scarchcd
|
| 1845 |
for `among the Ijombard and Venetian sculptors of whom
|
| 1846 |
there wcrc so many active in Rome in the early sevcntecnth
|
| 1847 |
c;enrur!/' (Nicolas Cordier: Recherches sur la sculpture d Rome
|
| 1848 |
¢#£o#r de j600, 2 vols. (Rome, 1984), ii, fig. 252, no. 65,
|
| 1849 |
pp.444-5).
|
| 1850 |
More recently, Charles Avcry has suggested that the
|
| 1851 |
Ashmolean's marble is the work of Francois Dieussart (see
|
| 1852 |
the catalogue for the sale of T77G Ar##de/ 44l¢„b/cf ¢„d O£¢Gr
|
| 1853 |
Sculpture f tom Favley Cottrt and Hall Barn, Chisirc. s,
|
| 1854 |
I.ondon, 10 December 1985, p.16, discussing fragmentary
|
| 1855 |
torsos from the Arundcl Collection which are neither Roman
|
| 1856 |
nor Greek antiquities). The attribution is attractive not least
|
| 1857 |
40
|
| 1858 |
because the sculpture could thus have been made in England
|
| 1859 |
which is inherently more likely than that it was imported.
|
| 1860 |
Avery recommends comparison with the Mother and Child
|
| 1861 |
group on the monument to Charles Morgan, Governor of
|
| 1862 |
Bergen op Zoom, in the latter city, but this comparison is
|
| 1863 |
not easy to make (scc, however, C. Avery, `Fran€ois Dicussart:
|
| 1864 |
Portrait Sculptor to the Courts of Northern Europe', S£"¢¢.er
|
| 1865 |
¢.„ E#ropG¢7¢ Sc„/Pf#rc (London,1981 ), 219-20). Dieussart's
|
| 1866 |
bust of Johanna Doff of c.1645-50 in the Rijksmuscum (I.
|
| 1867 |
Leouwchoc;I8, Beeldhouwkunst in bet Rijksmusettm
|
| 1868 |
(Amsterdam, 1973), no. 257b) certainly provides analoSes
|
| 1869 |
for the drilling of the hair and for the character of the fringe,
|
| 1870 |
whilst the treatment of the jewel may be matched with that
|
| 1871 |
in Dicussart's bust of Queen Henrictta Maria (Avery, op. cit„
|
| 1872 |
pl. 5). But this is not conclusive. The bronze statuette may
|
| 1873 |
well have been an independent invention which inspired
|
| 1874 |
Dieussart for it is a more sophisticated figure than the stiff
|
| 1875 |
and uneasy statue. It is very freely modelled and the cast
|
| 1876 |
appears to be untooled. Records in Berlin indicate that it was
|
| 1877 |
bought in I.ondon in 1890.
|
| 1878 |
The pedestal upon which the marble figure has bccn
|
| 1879 |
mounted is probably Italian work of the early sixteenth
|
| 1880 |
century and will be catalogued in another volume. The base
|
| 1881 |
of the marble seems likely to have been cut down since its
|
| 1882 |
form-ircular in front but following the line of the drapery
|
| 1883 |
behind-is most peculiar.
|
| 1884 |
BRITISH SCULPTURES, BY ARTIST'S
|
NAMEdiLf.
|
1:H¥['#¥±
|
| 1887 |
se=*
|
| 1888 |
RE,i,:i.,1,;,",i..";;,:,,,`+,I,
|
| 1889 |
Judith with the head of Holofcrncs.
|
| 1890 |
Staatliche Musccn, Berlin-Dahlcm
|
41
|
| 1892 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1893 |
An Bronze Foundry, I.ondon
|
| 1894 |
After John DOUBLEDAY (b.1947)
|
| 1895 |
@@PROCESS
|
| 1896 |
474. Sir Maurice Bowra
|
| 1897 |
44.2 cms. (height of bronze); 5.2 cms. (height of mahogany
|
| 1898 |
plinth); 22.7 cms. (length of same); 22 cms. (width of sane)
|
| 1899 |
Bronze with a pale green and golden brown patina. Hollow, lost-wax
|
| 1900 |
cast (the chair, however, is solid). Incised `Doubleday' in the
|
| 1901 |
model on the chair rail to proper right. The bronze is bolted to an
|
| 1902 |
unmoulded mahogany plinth.
|
| 1903 |
Presented by Sir William Yatcs in 1975. Registered on 22 July.
|
| 1904 |
The bronze is a maquette for the sculpture of Sir Maurice
|
| 1905 |
Bowra ( 1898-1971 ), the Master of wadham, now in the
|
| 1906 |
garden of wadham-Bowra's wit was proverbial among
|
| 1907 |
Oxford dons. Mr Doubleday informs me that his sculpture
|
| 1908 |
was intended to show how Bowra and the `fabric' had become
|
| 1909 |
one-`the fabric in this case being represented by his study
|
| 1910 |
chair'. Some people regarded this as `an infantile pun', but
|
| 1911 |
`Bowra was a bit of wadham or the other way round, so
|
| 1912 |
that's how I represented him'. Doubleday believes that the
|
| 1913 |
maquette was unique, but an earlier version of the idea exists
|
| 1914 |
in an edition of two of which he retains one.
|
| 1915 |
Among other public sculptures by Doubleday are portraits
|
| 1916 |
of Dr Michael Ramsay, Archbishop of Canterbury, at
|
| 1917 |
Lambeth Palace ( 1974), the statue of Charlie Chaplin in
|
| 1918 |
Leicester Square, I.ondon ( 1981 ), the statue of the Beatles
|
| 1919 |
in Liverpool ( 1984), the statue of sir Laurence Ohivier in the
|
| 1920 |
National Institute of Film and Drama in Beijing in the
|
| 1921 |
People's Republic of China ( 1987) .
|
| 1922 |
42
|
| 1923 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1924 |
Unknown foundy
|
| 1925 |
After Conrad DRESSLER ( 1856-1940)
|
| 1926 |
@@PROCESS
|
| 1927 |
475. Portrait bust in relief of John
|
| 1928 |
Ruskin
|
| 1929 |
15.9 cms. (height); 20 cms. (diameter of board)
|
| 1930 |
Bronze with a dark brown patina worn to yellow on the nose. Heavy
|
| 1931 |
sand-cast, open behind. Mounted on a circular board of pine.
|
| 1932 |
Incised `Con . . ' to proper left inside the jacket lapel. The board
|
| 1933 |
coarsely inscribed in black paint on verso: `J° Ruskin / By / C.
|
| 1934 |
Dressler'.
|
| 1935 |
The coarse inscription indicates that this item although stored in the
|
| 1936 |
Deparment of western Art must belong to the collection of medals
|
| 1937 |
purchased from Colonel Michael H. Grant in 1953 for the Heberden
|
| 1938 |
Coin Room.
|
| 1939 |
Dressler stayed with Ruskin at Coniston in 1886. Ruskin did
|
| 1940 |
much to encourage him and in particular to direct his
|
| 1941 |
sculptural training towards the applied arts. In the late l880s
|
| 1942 |
hc was working on the portrait of Dean hiddell for Christ
|
| 1943 |
Church and the Ancastcr stone figure of A4:¢ry A4l¢g7d¢/G» for
|
| 1944 |
Magdalen College, Oxford. The terracotta bust of Ruskin by
|
| 1945 |
Dresslcr in the Tate Gallery was probably the one exhibited
|
| 1946 |
at the Royal Academy in 1885 (as no. 2009) and at the New
|
| 1947 |
Gallery in 1888 (as no. 320). It is reproduced in the A4l¢g#z;¢."c
|
| 1948 |
a/A77for 1891. A bronze bust said to be ofdiffcrent character,
|
| 1949 |
dated 1903, was presented to the Ruskin Memorial Hall,
|
| 1950 |
Bournville. It is probably identical with the one reproduced
|
| 1951 |
opposite page 374 as a supplement to the March 1901 issue
|
| 1952 |
of the A7¢¢.j}. It is likely that the Ashmolean's bronze was not
|
| 1953 |
originally conccivcd as a high rclicf but in the round. Indccd
|
| 1954 |
it appears to be an identical cast to that reproduced in the
|
| 1955 |
A77¢.ff but sawn down, perhaps bccausc of a flaw in the cast.
|
| 1956 |
It is so simplified in comparison with the earlier terracotta
|
| 1957 |
and so dull in surface that one must wonder what part Dresslcr
|
| 1958 |
played in its creation, for his best work is very sensitive,
|
| 1959 |
indccd over nervous, in texture, and during the l890s he
|
| 1960 |
experimented with lost-wax casting in his own small foundry
|
| 1961 |
(-M. H. Sp;id"n:n, British Scul2ture and Sculptors Of To-Day
|
(Ik)ndon,1901), 86). For Drcsslcr see also Nos. 476-7.
|
| 1963 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 1964 |
Conrad DRESSLER ( 1856-1940)
|
| 1965 |
@@PROCESS
|
| 1966 |
476. Profile portrait medallion of
|
| 1967 |
Sir John Mowbray
|
| 1968 |
20 cms. (dianetcr)
|
| 1969 |
Plaster cast. Incised in the model: `CoNRAD DRESSLER 1882' below
|
| 1970 |
the bust and `SIR JOHN MoWBRAy / MDCCCLXXXII' behind the
|
| 1971 |
neck. The frame, brilliantly ctlded, is also of plaster and integral.
|
| 1972 |
Frame chipped below. Mounted in a shadow box.
|
| 1973 |
Provenance recorded
|
| 1974 |
Drcsslcr seems to have cxhibitcd this portrait at the Royal
|
| 1975 |
Academy in 1889 (as no. 2031, fife Rf. Ho„. S¢.r/o4»
|
| 1976 |
A4low47ey. 8¢77., A41.P.), but perhaps in another medium.
|
| 1977 |
Mowbray ( 1815-99) was Conservative Member of
|
| 1978 |
Parliament for the University of Oxford from 1868 until his
|
| 1979 |
death. He was an Honorary Student of Christ Church, his
|
| 1980 |
college as an undergraduate, and had in 1836 been President
|
| 1981 |
of the Oxford University Debating Society. There is a similar
|
| 1982 |
plaster profile medallion by Drcssler of spenccr Horatio
|
| 1983 |
Walpole dated 1882 in the National Portrait Gallery (5215).
|
| 1984 |
For Drcssler see also Nos. 475, 477-9.
|
| 1985 |
44
|
| 1986 |
After Conrad DRESSLER ( 1856-1940)
|
| 1987 |
@@PROCESS
|
| 1988 |
477. Medallion profile bust portrait
|
| 1989 |
of Benjamin Disraeli, lst earl of
|
| 1990 |
Beaconsfield
|
| 1991 |
19 cms. (diameter of medallion visible within fromc); 20.6 cms.
|
| 1992 |
(probable diameter of medallion ); 23.9 cms. (diameter of frame)
|
| 1993 |
Copper electrotype. The metal remains furly bright. `coNRAD
|
| 1994 |
DRESSLER' is incised on the cutting of the bust. The relief is set in
|
| 1995 |
an ebonizcd pine frame. On the wooden backing to the frame `I.ord
|
| 1996 |
Beaconsfield / By / Courad Dressler' is written in pen and ink and
|
| 1997 |
`wlTH 18 / 6 / 30 / Cast of .... DI-to hay' is written in pencil.
|
| 1998 |
The elcctrotype is kept in the Coin Room as part of the collection
|
| 1999 |
of medals purchased from Colonel Michael H. Grant in 1953. It is
|
| 2000 |
included in his manuscript catalogue on p.140 as one of the two
|
| 2001 |
(see also No. 478) of 1880 and 1881.
|
| 2002 |
For Dresslcr scc also Nos. 475-7, 478-9. This electrotypc
|
| 2003 |
(or at least the original which it reproduces) was evidently a
|
| 2004 |
companion of that of Gladstonc which is of identical size and
|
| 2005 |
has the same tcxturcd ground. For a bronze version of the
|
| 2006 |
portrait see No. 478.
|
| 2007 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2008 |
After Conrad DRESSLER ( 1856-1940)
|
| 2009 |
@@PROCESS
|
| 2010 |
478. Medallion profile bust portrait
|
| 2011 |
of Benjamin Disraeli, 1st earl of
|
| 2012 |
Beaconsfield
|
| 2013 |
28.7 cms. (diameter of medallion); 20 cms. (height of bust)
|
| 2014 |
Bronze with a dark brown patina. Sand-cast. Hollow behind the
|
| 2015 |
bust. `CoNRAD DRESSLER'/ `18 Ap 1880' incised funtly in the model
|
| 2016 |
under the cutting of the shoulder.
|
| 2017 |
The bronze has been kept in the room of the Muscum's administrator
|
| 2018 |
since c.1970. It came from the Heberden Coin Room whcrc it
|
| 2019 |
formed part of the collection of medals purchased from Colonel
|
| 2020 |
Michael H. Grant in 1953. It is included in the manuscript catalogue
|
| 2021 |
of his collection on p.140 as one of two such medals of 1880 and
|
| 2022 |
1881.
|
| 2023 |
The faintness of the signature makes it possible that the cast
|
| 2024 |
was not authorized. See No. 477 for another version of this
|
| 2025 |
portrait.
|
| 2026 |
After Conrad DRESSLER ( 1856-1940)
|
| 2027 |
@@PROCESS
|
| 2028 |
479. Medallion profile bust portrait
|
| 2029 |
of William Ewart Gladstone
|
| 2030 |
19.5 cms. (diameter of medalhion visible within frame); 20.6 cms.
|
| 2031 |
(probable diameter of medallion); 25. 5 cms. (diameter of frame)
|
| 2032 |
Copper electrotype. The metal has darkened. `Published ....
|
| 2033 |
8 / I.ondon .... 28th 1880 / CONRAD D .... ' in fundy incised
|
| 2034 |
letters can be read on the cutting of the bust. The relief is set in an
|
| 2035 |
ebonized pine frame with a split at 6.30 and a chip missing at the
|
| 2036 |
right edge. On the wooden backing to the frame
|
| 2037 |
`By / Conrad / Drcssler' is crudely painted in black.
|
| 2038 |
The electrotype is kept in the Heberden Coin Room as part of the
|
| 2039 |
collection of medals purchased in 1953 from Colonel Michael H.
|
| 2040 |
Grant. It is dated 1881 in Grant's MS catalogue (p.142).
|
| 2041 |
For Dressier see also Nos. 475-9. It is not known whether
|
| 2042 |
the making of this electrotype was authorized. If it was it is
|
| 2043 |
strange that the inscription is not clearly ledble. The lettering
|
| 2044 |
especially suggests that the electrotype was made from a cast
|
| 2045 |
taken from a plaster or bronze version of the medauion.
|
45
|
| 2047 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2048 |
[Edward] Alfred [Briscoe] DRURY ( 1856-1944)
|
| 2049 |
@@PROCESS
|
| 2050 |
480. Tile decorated with lhies of the
|
| 2051 |
valley
|
| 2052 |
22.2 cms. (height); 20.7 cms. (width); 3.4 cms. (thickness)
|
| 2053 |
Artificial or `composition' stone with a colour and texture resembling
|
| 2054 |
hillstonc grit. `A: DRURy Nov/ 25th / 1875' scratched after firing on
|
| 2055 |
one side.
|
| 2056 |
Provenance unknown.
|
| 2057 |
The date would suggest that Drury, whose father was a tailor
|
| 2058 |
who had settled in Oxford, made this at the Oxford School
|
| 2059 |
of Art where he studied after he left New College Choir
|
| 2060 |
School presumably in about 1870 and previous to winning a
|
| 2061 |
place as a National Scholar at the National Art Training
|
| 2062 |
School, South Kensington (later to be named the Royal
|
| 2063 |
College of Art), presumably in about 1876-neither the Choir
|
| 2064 |
School nor the Training School retains records. There is
|
| 2065 |
nothing surprising about the tile as a design of this period
|
| 2066 |
and it may be compared with the stylized treatment of natural
|
| 2067 |
specinens found in the Oxford Museum or in Watcrhousc's
|
| 2068 |
Natural History Museum in South Kensington. The latter
|
| 2069 |
was close in date (commended in 1873) and included
|
| 2070 |
simulated carvings of botanical and zooloScal specimens of
|
| 2071 |
terracotta similar in both colour and texture to stone.
|
| 2072 |
According to M. H. Spielmann (whose source must have
|
| 2073 |
been Drury himself) Drury was inspired to become an artist
|
| 2074 |
by the sight of Chantrey's works in the University Galleries
|
| 2075 |
(British Scttlpture and Sculptors Of To-Day (.London, \90\),
|
| 2076 |
Ilo) and this carly effort-it may be his earhest surviving
|
| 2077 |
work-was perhaps presented to the Museum in gratitude.
|
| 2078 |
It is just possible, however, that it may never have left the
|
| 2079 |
museum, for the Oxford School of Art which Drury attended
|
| 2080 |
must be the Government school of design which the Curators
|
| 2081 |
of the University Gallcrics permitted to occupy the museum
|
| 2082 |
in 1866. The school had the use of the south end of the
|
| 2083 |
I,argc Gallery at first and then a part of the Chantrey Gallery
|
| 2084 |
(the prcscnt Ruskin Lecture Hall) and it was conducted by
|
| 2085 |
Mr Macdonald whom Ruskin also employed when his school
|
| 2086 |
was established. Ruskin's school seems to have driven the old
|
| 2087 |
school downstairs but it continued to operate within the
|
| 2088 |
Museum until 1895 (minutes of the Curators of the
|
| 2089 |
University Gauerics, AMS. 41, pp. 37, 38, 39, 42, 55, and
|
| 2090 |
@@PROCESS
|
| 2091 |
136).
|
| 2092 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2093 |
Probably foundry of Alessandro Parlanti, Parson's Green,
|
| 2094 |
Fulham, or of Singer, Frome, Somerset
|
| 2095 |
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
|
| 2096 |
@@PROCESS
|
| 2097 |
481. Griselda
|
| 2098 |
25.9 cms. (height including integral bronze base); 2.6 cms.
|
| 2099 |
(height of plinth); 22.5 cms. (length of plinth); 12.5 cms. (width
|
| 2100 |
of plinth)
|
| 2101 |
Bronze with a very pale and bright green varnish, dark green in the
|
| 2102 |
hollows, won to yellow on the salient folds of the sleeve and chipped
|
| 2103 |
off on nose and on bun. Hollow, lost-wax, cast. Mounted on a
|
| 2104 |
serpentine plinth swelling forward at front and back. Incised A.
|
| 2105 |
DRURy in the model in the houow at the back of the bronze base.
|
| 2106 |
Bequeathed by the Rcvd J. W. R Brocklcbank in November 1926.
|
| 2107 |
No. 10 on Andrew Shirley's receipt of January 1927 (`A bust,
|
| 2108 |
Beatrice').
|
| 2109 |
Drury exhibited `Griselda; bronze bust' at the Royal Academy
|
| 2110 |
in 1896 where it was much admired. It was purchased with
|
| 2111 |
the Chantrey Bequest for £70 and is now in the reserve
|
| 2112 |
collection at the Tatc Gallery. Reductions of this life-size
|
| 2113 |
work (53.5 cms high) are not uncommon and Susan Beattic
|
| 2114 |
( 777c Nie7p Sc#/Pf#7ic (Ijondon and New Haven, Conn., 1983),
|
| 2115 |
@@PROCESS
|
| 2116 |
242) lists examples in public collections in Glasgow, York,
|
| 2117 |
and Preston in addition to this one. Such reductions must
|
| 2118 |
have been made from a smaller model by Drury himself for
|
| 2119 |
they are not mechanical and there are numerous minor
|
| 2120 |
differences from the larger bronze: most notably there is no
|
| 2121 |
detached band hanging from the hair and no cherub in the
|
| 2122 |
hollow of the base in the smaller version. It is, however, less
|
| 2123 |
common than the 4gr a/a.""ocG#ce, a very similar bronze
|
| 2124 |
bust portrait of Gracie Doncaster exhibited at the Royal
|
| 2125 |
Academy in 1897 with which it has often been confused.
|
| 2126 |
The idea of terminating a bust in this manner was inspired
|
| 2127 |
by the renewal of popular interest in Italian quattrocento
|
| 2128 |
sculpture in the last quarter of the nineteenth century and had
|
| 2129 |
been anticipated in Britain by both Gcorgc Frampton (in his
|
| 2130 |
C47'¢.ff#de/ of 1889) and Edward Onslow Ford in his A j}#dy
|
| 2131 |
of c.1890). But the Italians had revived this type of bust by
|
| 2132 |
the 1860s-in forgcrics as well as imitations. The most famous
|
| 2133 |
of the former was Bastianini's imagivary portrait of Lucrezia
|
| 2134 |
Donati, acclaimed by Cavalcaselle as the masterpiece of Mino
|
| 2135 |
da Fiesole, but cxposcd as a modem work by Dr Alessandro
|
| 2136 |
Foresi in 1868, and acquired as such by the Victoria and
|
| 2137 |
Albert Museum in the following year (38-1869). In 1870
|
| 2138 |
Charles-Jean-Marie Degeorge ( 1837-88 ) exhibited his
|
| 2139 |
`Bernardino Ccnci' at the Paris Salon (no. 4412) with a great
|
| 2140 |
success which hc repeated at the Exposition Universelle of
|
| 2141 |
1878 (Musec de Lyon, 8497; other versions elsewhere). Hc
|
| 2142 |
had, significantly, created this bust in Italy. When Franpton,
|
| 2143 |
Ford, and other British sculptors came to revive this type of
|
| 2144 |
bust it is noteworthy that it was at first also for inagivary
|
| 2145 |
Portraits. In the case of this work by Drury, the subject was
|
| 2146 |
fi.om Italian Renaissance literature: Griselda is the heroine of
|
| 2147 |
Boccaccio's story in the Dcc¢owc7io7¢ (Day 10, Story 10) more
|
| 2148 |
finiliar to British readers in Chaucer's version, whose meek
|
| 2149 |
Patience and enduring love, submitted to cruel tests of virtue
|
| 2150 |
by her high-born husband, were proverbial. The inspiration
|
| 2151 |
for making a fanciful portrait from Boccaccio may well have
|
| 2152 |
been Canbi's bust of F¢.¢ac7"c## which Theodosia Trollope
|
| 2153 |
mentioned as having been four times repeated in her `Notes
|
| 2154 |
on the Most Recent Productions of Florentine Sculptors', in
|
| 2155 |
1861 (A#/a"7'7¢¢/ (I July 1861), 211). Drury's decision in
|
| 2156 |
the following year to adapt the same archaic, or at least quaint,
|
| 2157 |
format for a portrait of a contemporary seems to have been
|
| 2158 |
a novel departure. The last notable British bust to adopt this
|
| 2159 |
format was perhaps Epstein's portrait of Mrs Ambrose
|
| 2160 |
MCEvoy of 1909-10.
|
47
|
| 2162 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2163 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2164 |
Probably foundry of Alessandro Parlanti, Parson's Green,
|
| 2165 |
Fulham, or of Singer, Frome, Somerset
|
| 2166 |
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
|
| 2167 |
@@PROCESS
|
| 2168 |
482. Spring
|
| 2169 |
43.6 cms. (height including base and plinth); 3.6 cms. (height of
|
| 2170 |
plinth); 14cms. (length of plinth); 12.45 cms (width of plinth)
|
| 2171 |
Bronze with a dark green patina. Hollow, lost-wax, cast. The rough
|
| 2172 |
base and spreading plinth are integral. Incised `A Drury' in the
|
| 2173 |
model on the base behind the figure.
|
| 2174 |
Bequeathed by the Revd R W. R Brocklebank in November 1926.
|
| 2175 |
No. 2 on Andrew Shirley's receipt of January 1927 (`A Statuette
|
| 2176 |
Female figure symbolising Victory, 17" high . . . on ebonised wood
|
| 2177 |
plinth'). The statuette was long off display; in recent years it had
|
| 2178 |
been employed as an ornament in the office of Ion I.owe: it was
|
| 2179 |
placed in 1988 in the newly decorated Combe Gallery.
|
| 2180 |
A bronzed plaster of this subject was exhibited as no. 56 in
|
| 2181 |
the exhibition Sc"/Pf#rc/or fife Hoowc mounted by the Fine
|
| 2182 |
Art Society in 1902 (S. Bcattie, 777e Niow7 Sc#/P£„yG (I.ondon
|
| 2183 |
and New Haven, Conn.,1983), 260 no. 61) with a note to
|
| 2184 |
the cffcct that an edition of twenty bronzes was available (or
|
| 2185 |
proposed?), each one to cost 40 guineas. Another cast is in
|
| 2186 |
the Laing Art Ganery, Newcastle upon Tyne.
|
| 2187 |
There is a relationship between this and the personifications
|
| 2188 |
of Epc„¢.»g and Mo7'7G¢.7¢g which Drury was commissioned to
|
| 2189 |
make as standard clcctric lights for the City Square in Lecds,
|
| 2190 |
one of which hc cxhibitcd at the Royal Academy in 1898
|
| 2191 |
(no. 1961 ). These works were much influenced by a decorative
|
| 2192 |
tradition in French sculpture, the N¢j¢f and D¢y by Pradier,
|
| 2193 |
for example.
|
I,{.#Har#f####i#',`'f
|
| 2195 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2196 |
Probably the foundry of J. W. Singer and Sons, Fromc,
|
| 2197 |
Somcrsct
|
| 2198 |
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
|
| 2199 |
@@PROCESS
|
| 2200 |
483. Joseph Priestley
|
| 2201 |
56 cms. (height of figure, including integral plinth); 2.5 cms,
|
| 2202 |
(height of serpentine sub-plinth )
|
| 2203 |
Bronze with a dark green patina, worn to pale green in the most
|
| 2204 |
salient points. A few scratches expose a yellow metal. Hollow,
|
| 2205 |
probably lost-wax, cast. Chisclled on the back of the plinth in the
|
| 2206 |
metal: `A DRURy' to proper left, and `1902' to proper right.
|
| 2207 |
Bequeathed through the National Art-Collections Fund by Charles
|
| 2208 |
H. Priestley of Marsh Baldon (born 1910, died 13 March 1988,
|
| 2209 |
exhibitioner at New College, Oxford, 1929-32, long the senior
|
| 2210 |
partner of the University's solicitors Morrell, Peel and Gamlen,
|
| 2211 |
appointed in 1978 Deputy Lieutenant for Oxfordshire). The
|
| 2212 |
sculpture was received in the Museum on 5 April 1988 and placed
|
| 2213 |
on display in the newly decorated Combe Gallery in the summer of
|
| 2214 |
that year.
|
| 2215 |
Drury's first great successes at the Royal Academy, his bronze
|
| 2216 |
statue of C¢.rcG and his bust of S£ 4g»cJ, were purchased for
|
| 2217 |
Lecds City Art Gallery in 1894 ( CG.rcc now stands outside in
|
| 2218 |
the grounds of Leeds City Art Gallery). This helps to explain
|
| 2219 |
why, later in the decade, hc received from Colonel T. Walter
|
| 2220 |
Harding (mayor bctwcen 1898 and 1899) the remarkable
|
| 2221 |
commission for a series of eight bronze electric lamp standards
|
| 2222 |
in the form of nearly nude women. Four of these casts were
|
| 2223 |
of a languid Epc"¢.7¢g with her left arm raised and four of a
|
| 2224 |
more lively A4lorȢ."g with her right arm raised. EPGȢ.#g was
|
| 2225 |
cxhibitcd at the Royal Academy in 1898. These standards
|
| 2226 |
were designed to surmount a balustrade surrounding a
|
| 2227 |
colossal equestrian statue of the Black Prince by Brock in the
|
| 2228 |
City Square. Part of the same commission-nd also paid for
|
| 2229 |
by Harding-were bronze statuettes of Joseph Priestley by
|
| 2230 |
Drury and of Dr Hook by Pomeroy. Statues of two other
|
| 2231 |
local worthies, both by H. C. Fehr (John Harrison and James
|
| 2232 |
Watt), were given by RIchard Boston and Richard
|
| 2233 |
Wainwright. Although most of these works declare themselves
|
| 2234 |
on their sub-plinths as Sfts of 1903 that of watt dates the
|
| 2235 |
rift to 1898 and gives 1903 as the date of erection, and this
|
| 2236 |
was in fact the case with them all. The sculpture has unhappily
|
| 2237 |
been rearranged in recent years: an idea of its origival setting
|
| 2238 |
can be obtained from a photograph in the Sf#d¢.a for
|
| 2239 |
November 1903 (30: 165). Drury exhibited `Joseph Priestley,
|
| 2240 |
LL.D., F.R.S.; statue for City Square, Leeds' at the Royal
|
| 2241 |
Academy in 1899 (no. 1890). This was probably a plaster
|
| 2242 |
cast, a photograph of which is reproduced by M. H.
|
| 2243 |
Soyidm:am, British Sculpture and Sculptors Of To-Day
|
| 2244 |
(Ijondon,1901),112. The bronze in Leeds must date from
|
| 2245 |
1899 or from soon afterwards. It reproduces the artist's
|
| 2246 |
signature and the date `99' from the model and is chiscucd
|
| 2247 |
on the back of the plinth: `7w slNGER & soNs FouNDERs', as
|
| 2248 |
are the lamp standards.
|
| 2249 |
The date of 1902 on the Ashmolean's statuette might
|
| 2250 |
suggest that it was cast after the large version and is a reduced
|
| 2251 |
reproduction. It is, however, not an accurate reproduction.
|
| 2252 |
50
|
| 2253 |
Among the minor differences are the more prominent flaps
|
| 2254 |
to the bucklcd shoes and the position of the index finger over
|
| 2255 |
the lower part of the lens of the magnifying glass in the
|
| 2256 |
statuette. It would seem likely that the statuette reproduces a
|
| 2257 |
preliminary model and that the date, which is chiselled in the
|
| 2258 |
metal and not reproduced from the model, is that of the
|
| 2259 |
casting rather than the date when the model was made which
|
| 2260 |
is likely to have been 1898 or carly 1899. No other casts of
|
| 2261 |
the statuette are known to us. It may have been made for the
|
| 2262 |
Pricstley family to which the former owner, Charles Priestley,
|
| 2263 |
is thought to have belonged.
|
| 2264 |
Drury's later and far more familiar statue of Sir Joshua
|
| 2265 |
Reynolds in the forecourt of Burlington House is very similar
|
| 2266 |
in style and conception.
|
| 2267 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2268 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2269 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2270 |
Probably foundry of Alessandro Parlanti, Parson's Green,
|
| 2271 |
Fulham, or of Singer, Frome, Somerset
|
| 2272 |
After [Edward] Alfrcd [Briscoc] DRURY ( 1856-1944)
|
| 2273 |
@@PROCESS
|
| 2274 |
484. Inspiration
|
| 2275 |
60.5 cms. (height including integral bronze base); 4 cms. (height
|
| 2276 |
of plinth); 22.7 cms. (1engiv of plinth); 20.6 cms. (width of
|
| 2277 |
plinth)
|
| 2278 |
Bronz: with a deep green patina. Hollow, lost-wax, cast in one
|
| 2279 |
piece. Mounted on a plinth with four bronze fcct at the corners
|
| 2280 |
and decorated with fillets of connemara green marble (one fillet
|
| 2281 |
behind missing). Incised in the model on the base proper left below
|
| 2282 |
edge of drapery: `A Drury 08'.
|
| 2283 |
Bequeathed by the Revd I. W. R Brocklcbank in November 1926.
|
| 2284 |
No. 3 on Andrew Shirley's receipt of January 1927 (`A Statuette
|
| 2285 |
Female draped figure holding laurcls' ) and never subsequently
|
| 2286 |
correctly named. Long off display; placed in 1988 in the newly
|
| 2287 |
decorated Combc Gallery.
|
| 2288 |
A version of the statucttc was exhibited at the Royal Academy
|
| 2289 |
in 1907 (no.1791) with the title `Inspiration-statuette,
|
| 2290 |
bronze, Study for statue for principal entrance, Victoria and
|
| 2291 |
Albert Museun'. It was companion with Kceow/GdgG, also for
|
| 2292 |
the principal entrance (no. 1780). Panels for the same
|
| 2293 |
Museum, including the `panel to be erected over the
|
| 2294 |
entrance', were exhibited by Drury in the following year (as
|
| 2295 |
nos. 1847, 1855, and 1863). The scheme had been agreed
|
| 2296 |
by Aston Webb, the architect in 1905. The Portland stone
|
| 2297 |
statues of J"fp¢.7i¢£¢.o» and K"ow/GofzgG still flank the Museum's
|
| 2298 |
principal entrance but differ in several respects from the
|
| 2299 |
statuettes. In the case of J»fp¢.#¢£G.o„ the right knee is drawn
|
| 2300 |
up in the statue and the cloak meets at her feet- difference
|
| 2301 |
conditioned by the tight nicheutnd the book is more clearly
|
| 2302 |
distinguished from the laurel-both for clarity when viewed
|
| 2303 |
from a distance and from below and because it was easier to
|
| 2304 |
carve these simpler forms. Another version of this statuette is
|
| 2305 |
known to me (paired with a J{»ow/c/gG) on the I.ondon art
|
| 2306 |
market. This version, hke the Ashmolean's, is dated 1908 and
|
| 2307 |
so it is unlikely to bc the one exhibited in the previous year
|
| 2308 |
(mustrated in the albums in the Royal Academy Library). A
|
| 2309 |
cast of I"fp¢.r¢f¢.o„ dated 1909 with one of K#ow/c/E9c dated
|
| 2310 |
1916, both on Connemara marble plinths, were lot 56 at
|
| 2311 |
Christie's, I.ondon, 23 May 1991. They were marked `Tiffany
|
| 2312 |
& Co.'-the firm which seems to have marketed Drury's
|
| 2313 |
bronzes in the United States.
|
| 2314 |
52
|
| 2315 |
Probably foundry of Alcssandro Parlanti, Parson's Green,
|
| 2316 |
Fulham, or of Singer, Fromc, Somerset
|
| 2317 |
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
|
| 2318 |
@@PROCESS
|
| 2319 |
485. Sculpture
|
| 2320 |
20.55 cms. (height of figure including bronze base); 3.3 cms.
|
| 2321 |
(height of plinth); 10.5 cms. (length of plinth); 9.4 cms. (width
|
| 2322 |
of plinth)
|
| 2323 |
Bronze with a pale grccn patina (less bright green than the J„/¢7?f
|
| 2324 |
B¢cc¢#f, No. 486, or the G".fc/d¢, No. 481); some verdigris around
|
| 2325 |
crown and elsewhere. Hollow, lost-wax, cast. Mounted on the plinth
|
| 2326 |
of pale serpentine. Incised `A. Drury' in the model on the base
|
| 2327 |
behind the figure.
|
| 2328 |
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
|
| 2329 |
No. 26 on Andrew Shirley's receipt of January 1927 (`reclining
|
| 2330 |
female figure with a laurel wreath and an effigy').
|
| 2331 |
Uncertain how the figure should be labcllcd, C. F. Bell
|
| 2332 |
enquired of the sculptor himself. Drury wrote on 16 May
|
| 2333 |
1929 explaining that `the crouched woman's figure is the
|
| 2334 |
same as that on the right hand corner at the top of the marble
|
| 2335 |
frame of the John Oliver Hobbs [f¢.c] memorial in the I.ondon
|
| 2336 |
University I.ibrary'. He suggested that Bell might call it `What
|
| 2337 |
you like'.
|
John Oliver Hobbes was the pseudonym of Pearl Mary-
|
| 2339 |
Tercsa CraiSc (nee Richards), a star of Edinburgh high
|
| 2340 |
society whose elegant novels and plays were enormously
|
| 2341 |
popular and are now almost entirely forgotten. When she
|
| 2342 |
died aged 38 in 1906 her friends subscribed for a monument
|
| 2343 |
to be erected in University College where she had been
|
| 2344 |
educated. Since she was much admired in her native America
|
| 2345 |
it was decided to open a parallel subscription there under the
|
| 2346 |
auspices of Joseph Choatc, the American ambassador. This
|
| 2347 |
was a success and a rephca of the monument was
|
| 2348 |
commissioned and Barnard College selected as a suitable
|
| 2349 |
location, no doubt because Mrs Choate was a trustee and
|
| 2350 |
had helped found the institution. The only direct connection
|
| 2351 |
would seem to have been that Mrs Craigie had lectured with
|
| 2352 |
great success to the Barnard Union on Botticelli and Dante
|
| 2353 |
in the December before she died (B¢7'79¢7i¢ B#//e£¢.» ( 11
|
| 2354 |
Deccmbcr 1905),1).
|
| 2355 |
After some searching the memorial was declared in a letter
|
| 2356 |
to mc of October 1986 to be no longer in University College
|
| 2357 |
Library and the suggestion made that it was a victim of war
|
| 2358 |
damage, but on a more intensive search it was discovered on
|
| 2359 |
the wall above the entrance to `Enquiries and Take Out'. The
|
| 2360 |
replica of the monument seems to have been erected in the
|
| 2361 |
theatre of Barnard College. It was taken down when the
|
| 2362 |
theatre was rcnovatcd and was in March of 1983 on the
|
| 2363 |
basement floor outside the Central Records Office when there
|
| 2364 |
were moves to re-erect it again. When I called in late August
|
| 2365 |
1988 it could not be found, although it had recently been
|
| 2366 |
seen in a store room.
|
| 2367 |
In the University College version the bronze profile relief
|
| 2368 |
Portrait and the laurel crown against the smokey pink marble
|
| 2369 |
apron below have been crudely daubed with `gold' paint
|
| 2370 |
which has dribbled. The relief portrait is signed and dated
|
| 2371 |
1908. The tablet is crowned with two `bronze statuettes: a
|
| 2372 |
version of the Ashmolcan's figure but holding a mask
|
| 2373 |
(resembling, at first sight, a scvercd head) in place ofa statucttc
|
| 2374 |
and a figure, similarly posed but in revcrsc, holding a wreath
|
| 2375 |
and a book. The general scheme seems to have been invcntcd
|
| 2376 |
by Frampton for his memorial to Charles Kecne ( 1896, Tatc
|
| 2377 |
Gallery). Drury exhibited a `Mural Tablet to the late Pearl
|
| 2378 |
Mary Teresa Craigie ("John Oliver Hobbes") To be erected
|
| 2379 |
at University College, I.ondon and in America' at the Royal
|
| 2380 |
Academy in 1908 (no.1943) and a silver plaque of her,
|
| 2381 |
possibly identical to the portrait relief in the tablet but in
|
| 2382 |
another medium, in 1910 (no. 1839).
|
| 2383 |
Separate casts seem to have been made of the other
|
| 2384 |
allegorical figure crowning the memorial. One entitled
|
| 2385 |
L¢.£g#¢f#rc was no. 133 in the exhibition held at Foyles Art
|
| 2386 |
Gancry, London, 10 October-I November 1968, entitled
|
| 2387 |
`Collector's Luck, paintings, sculpture . . . in the collection of
|
| 2388 |
Mr Stowers Johnson'. It may be that Drury's rcplaccmcnt of
|
| 2389 |
the mask with a statuette made the Ashmolean's figure into
|
| 2390 |
an allegory of sculpture (as distinct from Drama which would
|
| 2391 |
have suited Hobbes). If so it might have been done to sell it
|
| 2392 |
as a pair with a kneeting personification of Painting holding
|
| 2393 |
a palette, examples of which have been on the I.ondon art
|
| 2394 |
market in recent years (Fine Art Society, October 1973;
|
| 2395 |
Christie's, 3 April 1985, No. 207-subsequently Agnews,
|
| 2396 |
wiriter r985. Old Master Drawings and Scttlpture, rro. 76).
|
| 2397 |
The manner in which the hair and drapery are built up in
|
| 2398 |
long thin, flat strips is highly characteristic of Dniry and
|
| 2399 |
perhaps reflects his use of plasticine as well as wax and clay as
|
| 2400 |
a material for modelling. The type of twisted kneeling pose
|
| 2401 |
reflects Drury's fascination with the work of Alfred Stevens,
|
| 2402 |
many of whose drawings hc owned (and some of which are
|
| 2403 |
now in the Ashmolean).
|
53
|
| 2405 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2406 |
54
|
| 2407 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2408 |
Probably foundry of Alessandro Parlanti, Parson's Green,
|
| 2409 |
Fulham, or of singer, Fromc, Somerset
|
| 2410 |
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
|
| 2411 |
@@PROCESS
|
| 2412 |
486. Infant Bacchus
|
| 2413 |
24.1 cms. (height of figure including integral bronze base);
|
| 2414 |
8.2 cms. (diameter of bronze base)
|
| 2415 |
Bronze with a green patina, slightly scratched on the figure's back
|
| 2416 |
to reveal yellow metal. Hollow, heavy, cast. Iron armature in
|
| 2417 |
interior. Incised `A Drury' (the initial indistinct because of. burr) in
|
| 2418 |
the model on the side of the tree-trunk. Original onyx plinth (see
|
| 2419 |
below) untraccd.
|
| 2420 |
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
|
| 2421 |
No. 31 on Andrew Shirlcy's rcccipt of January 1927 (`A young
|
| 2422 |
Bacchanal holding a wine cup 92J' high by A. Drury on onyx plinth').
|
| 2423 |
Uncertain how the figure should be labelled, C. F. Bell
|
| 2424 |
enquired of the sculptor himself. Drury rcphicd on 16 May
|
| 2425 |
1929 explaining `The little boy in bronze is a study for a panel
|
| 2426 |
which I did for the I.ivcr Insurance in Piccadilly' and urSng
|
| 2427 |
him to call it `what you like'. The building to which Drury
|
| 2428 |
rcfcrs is no.161 Piccadilly, on the corner of st James's Strcct,
|
| 2429 |
now the Bradford and Binglcy Building Society, origivally the
|
| 2430 |
office of the Royal Insurance Company. A photograph of
|
| 2431 |
1909 in the National Monuments Record (NBR DD60/125)
|
| 2432 |
shows it as it was shortly after opening. Drury cxhibitcd his
|
| 2433 |
`Panel over Entrance, Royal Insurance Office, St James's
|
| 2434 |
Street' at the Royal Academy in that year (no. 1738), probably
|
| 2435 |
as a plaster. The Royal Insurance building is one of the most
|
| 2436 |
aggressively chunky examples of Edwardian baroque
|
| 2437 |
architecture in the West End of I.ondon. It also features a
|
| 2438 |
cornice supported by paired nude boys in recesses beside
|
| 2439 |
oricl windows. Drury's panel, which is placed over the Doric
|
| 2440 |
entrance in the chamfered corner of the building between
|
| 2441 |
Piccadilly and St James's Street, is carved in Portland Stone.
|
| 2442 |
It consists of two putti whose twisted poses respond to the
|
| 2443 |
shape of the cartouche between them, and one of these figures
|
| 2444 |
is closely related to the Ashmolcan's bronze. Drapery,
|
| 2445 |
howcvcr, covers his hair, oak lcavcs from a branch emerging
|
| 2446 |
from under the cartouche conceal his genitals, and in his right
|
| 2447 |
hand he holds an ohvc branch to form a crown to the
|
| 2448 |
Company's emblem of a stork holding a twig in its beak.
|
| 2449 |
It sccms unlikely that Drury can ever have seriously
|
| 2450 |
proposed givng this child the attributes of Bacchus which
|
| 2451 |
could not have been appropriate for an insurance company
|
| 2452 |
and we must question his claim that it is a `study for' the
|
| 2453 |
panel. More likely hc saw that the torsion devised for
|
| 2454 |
decorative purposes could be given a narrative meaning (or,
|
| 2455 |
possibly, hc had cahier studies for a Bacchic subject in the
|
| 2456 |
manner of Jules Dalou in whose Paris studio Drury had
|
| 2457 |
worked between 1881 and 1885 which he adapted for the
|
| 2458 |
panel; after all the first sculpture he exhibited at the Royal
|
| 2459 |
Academy, in 1885, was A £7"."owP¢ a/SG./e»#J). This was a
|
| 2460 |
period in which modern bronze statuettes were most in vogue
|
| 2461 |
and there are other instances of Drury modifying
|
| 2462 |
commissioned pieces in order to create statuettes of a
|
| 2463 |
domestic scale (cf. Nos. 483, 484). The figure is suggestive
|
| 2464 |
of enchantment as well as of intoxication and is comparable
|
| 2465 |
in feeling with the C¢.7.cG which Drury exhibited at the Royal
|
| 2466 |
Academy in 1893, and had cast in bronze in the following
|
| 2467 |
year (this is now in the grounds of Lecds City An Gallery).
|
| 2468 |
The mood is also found in Frederick Macmonnics's B¢ccha#£g
|
| 2469 |
of 1896 (Metropolitan Museum, New York, and elsewhere).
|
| 2470 |
For the modelling in flat strips, very evident in the treatment
|
| 2471 |
of bark and hair, see No. 485.
|
55
|
| 2473 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2474 |
Probably foundry of Alessandro Parlanti, Parson's Green,
|
| 2475 |
Fulham, or of Singer, Frome, Somerset
|
| 2476 |
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
|
| 2477 |
@@PROCESS
|
| 2478 |
487. Crouching female nude
|
| 2479 |
(a Lifith)
|
| 2480 |
18.5 cms. (height); 8.8 cms. (length of base); 7.8 cms. (width of
|
| 2481 |
base)
|
| 2482 |
Bronze with a brown patina, varied from dark russet on base to
|
| 2483 |
yellow-brown on chest; spots of verdigris in the interstices; hollow
|
| 2484 |
(probably lost-wax) cast; iron armature wire in the interior; inscribed
|
| 2485 |
`A. DRURy.1912' in the model across the back of the rough rock
|
| 2486 |
base.
|
| 2487 |
Given by Cyril da Costa Andrade, of Morocco House, Bayard's
|
| 2488 |
Cove, Dartmouth, Devon, 1956, together with the figure by Phoebc
|
| 2489 |
Stabler (No. 570). RCSstcred on 3 October. Mr Andradc gave and
|
| 2490 |
bequeathed many items to the museum but most of these were
|
| 2491 |
ceramics-see No. 457 especially.
|
| 2492 |
The yearning look of the figure and the attitude suggest more
|
| 2493 |
than the usual pretexts for movement in a female nude+the
|
| 2494 |
wringing-out or winding-up of hair. There is a relationship in
|
| 2495 |
56
|
| 2496 |
pose with the sculptor's marble statuette £¢./¢.£¢, his diploma
|
| 2497 |
work, exhibited at the Royal Academy in 1916 (no.1941),
|
| 2498 |
although the head there is turned the other way to regard
|
| 2499 |
the snake sliding on her right arm. The rocky base is Similar
|
| 2500 |
in both works. Drury had exhibited a bronze statuette entitled
|
| 2501 |
LG./¢.£4 at the Royal Academy in 1913 (as no. 2012; Ray#/
|
| 2502 |
Ac¢deowy P¢.cf"ref ¢"d Sc#/P£#yG (I.ondon,1913), pl. 7) and
|
| 2503 |
this might have bccn cast in the year before. What may have
|
| 2504 |
been the same statuette was also exhibited there (as no. 1375)
|
| 2505 |
in 1945 (the year after his death). One other cast is known
|
| 2506 |
to us-in the I.aing Art Gallery, Newcastle upon Tync-but
|
| 2507 |
in it the fingers of one hand arc missing. It was made from a
|
| 2508 |
broken model, perhaps posthumously, which would be
|
| 2509 |
consistent with the identification as L¢./¢.£¢. Drury's fascination
|
| 2510 |
with poses of this sort is well demonstrated by the symmetrical
|
| 2511 |
sequence of nine panels involving ten kneeling and crouching
|
| 2512 |
women over the main entrance of the Victoria and Albert
|
| 2513 |
Museum (c.1908).
|
| 2514 |
Unknown foundry, perhaps that of Alessandro Parlanti,
|
| 2515 |
Parson's Green, Fulhan
|
| 2516 |
After Sir Jacob EI'STEIN ( 1880-1959)
|
| 2517 |
@@PROCESS
|
| 2518 |
488. Noneen (Head of a girl)
|
| 2519 |
33.7 cms. (height).
|
| 2520 |
Bronze with a very dark brown patina. Hollow, lost-wax, cast.
|
| 2521 |
Mounted on the origival tapering black slate plinth now adorned
|
| 2522 |
with the title in gold letters.
|
| 2523 |
Bequeathed, together with a collection of English twentieth-century
|
| 2524 |
paintings and drawings, by Thomas Balston in 1968 through the
|
| 2525 |
National Art-Collections Fund. Registered 8 February 1968.
|
| 2526 |
The head was modelled in 1919 and shown at his successful
|
| 2527 |
(and controversial) exhibition at the Ijciccstcr Galleries in the
|
| 2528 |
following year (as no. 9.>). Up to six bronze casts seem to
|
| 2529 |
have been made. See E. Silber, 7Z7G Sc%/P£#„ a/Epf£GG.%
|
| 2530 |
(Oxford, 1986), 146, no. 106 (the Ashmolcan version, her
|
| 2531 |
no. I, illustrated). According to Silber, Epstein tended to use
|
| 2532 |
Paulanti's foundry for portraits at this period (ibid. 116).
|
| 2533 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
57
|
| 2535 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2536 |
Unknown foundry, perhaps that of Alessandro Parlanti,
|
| 2537 |
Parson's Green, Fulham
|
| 2538 |
After Sir Jacob EI'STEIN ( 1880-1959)
|
| 2539 |
@@PROCESS
|
| 2540 |
489. Peggy-Jean
|
| 2541 |
22.5 cms. (height)
|
| 2542 |
Bronze with a mid-brown to yellow-brown patina. Hollow, lost-wax,
|
| 2543 |
cast. Mounted on the original tapering black slate plinth, now
|
| 2544 |
adorned with title in gold letters.
|
Bequeathed in 1945 by Roger Fulford through the National Art-
|
| 2546 |
Collections Fund.
|
| 2547 |
The sitter was the sculptor's first daughter, born in October
|
| 2548 |
1918 and the subject of a series of busts from earliest infancy
|
| 2549 |
onwards. This is catalogucd by Evelyn Silber as the ninth
|
| 2550 |
portrait in the series and represents I'eggy-Jean laughing.,
|
| 2551 |
aged two years and nine months ( 777c Sc„/Pf"re a/Epj£G¢7¢
|
| 2552 |
(Oxford, 1986), 150, no. 124-the Ashmolean version, her
|
| 2553 |
no. 3, illustrated). The sculpture was exhibited at the Leicester
|
| 2554 |
Galleries in 1924. It seems then to have been available in an
|
| 2555 |
edition of up to six, but according to Lady Epstein, as cited
|
| 2556 |
by Shber, there was an edition of twelve. According to Silbcr
|
| 2557 |
Epstein tended to use Parlanti's foundry for portraits at this
|
| 2558 |
period (ibid.116).
|
| 2559 |
58
|
I-
|
| 2561 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2562 |
David EVANS ( 1895-1959)
|
| 2563 |
@@PROCESS
|
| 2564 |
490. Bust portrait of Sir Aithur
|
| 2565 |
John Evans D.Lit., FBA, FRS, etc.
|
| 2566 |
66.5 cms. (height, including integral base); 19.5 cms. (length of
|
| 2567 |
integral base); 22.5 cms. (width of integral base)
|
| 2568 |
Carrara marble. Incised on the integral base to proper left:
|
| 2569 |
`DAVID . EVANS.' Mounted on a wooden pedestal of tapering term
|
| 2570 |
form painted white and adorned with standard `Georgian' ornaments
|
| 2571 |
painted gold.
|
| 2572 |
For provenance see below.
|
| 2573 |
Sir Arthur Evans ( 1851-1941 ) was Keeper of the Ashmolean
|
| 2574 |
Museum from 1884 until 1908 and Honorary Keeper 1908-
|
| 2575 |
41. As is explained in the Introductory Essay in Volume I, he
|
| 2576 |
secured for the Museum Fortnum's collections and the funds
|
| 2577 |
which made possible the transfer of the Ashmolean Museum
|
| 2578 |
to the University Galleries. He is most famous for his
|
| 2579 |
excavations in Crete. The bust was presented to Sir Arthur
|
| 2580 |
Evans by the Rt. Hon. Lord Rennell representing `friends
|
| 2581 |
and colleagues' at 4.15 on 17 December 1934 in the Rooms
|
| 2582 |
of the Society of Antiquaries, Burlington House. A printed
|
| 2583 |
circular (kept among the Evans papers in the Department of
|
| 2584 |
Antiquities) lists the friends and colleagues-vcr 300 of
|
| 2585 |
them-mostly archaeologists, but including C. F. Bell and
|
| 2586 |
Kcnncth Clark, who may be presumed to have subscribed
|
| 2587 |
for the bust not long before. The bust was exhibited at the
|
| 2588 |
Royal Academy in 1937 (as no.1451). It may be assumed
|
| 2589 |
that the bust was acquired by the Museum after Evans's death
|
| 2590 |
in 1941 : it was never regarded as belongivg to the
|
| 2591 |
Department of western Art and, not being a work of ancient
|
| 2592 |
art, its acquisition seems not to have been recorded by the
|
| 2593 |
Department of Antiquities. The sculptor, David Evans, was
|
| 2594 |
not related to Sir Arthur. He was born in Manchester, studied
|
| 2595 |
at the Manchester School of Art, the Royal College of Art
|
| 2596 |
(with a National Scholarship), and the Royal Academy
|
| 2597 |
Schools (where hc was a British Institution Scholar in 1921
|
| 2598 |
and a Landseer Scholar in 1922 and won the Rome Prize).
|
| 2599 |
Hc exhibited at the Royal Academy from 1921. In the
|
| 2600 |
Dictionary Of Contemporary British Arts o£ L92;9 (ed. 8.
|
| 2601 |
Dolman) hc described himself as a `modernist sculptor and
|
| 2602 |
carver'). It may have been the success of his portraits of John
|
| 2603 |
Galsworthy and Hugh Walpole shown at the Academy in
|
| 2604 |
1929 and 1931 that prompted the commission of the bust
|
| 2605 |
of iThur Evans.
|
59
|
| 2607 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2608 |
Francesco FANELLI (active 1609nd2 )
|
| 2609 |
@@PROCESS
|
| 2610 |
491. Fountain-head in the form of
|
| 2611 |
Cupid, blindfold, riding a dolphin
|
| 2612 |
12.9 cms. (height); 8.5 cms. (length); 6.7cms. (width); 11.3 cms.
|
| 2613 |
(length of ebony base; 8.8 cms. width of same)
|
| 2614 |
Bronze with fire-Slding won at the most salient points (especially
|
| 2615 |
in the arms and right leg of Cupid) to reveal a yellow metal. Some
|
| 2616 |
black tarnishing in the hollows. Very thin-walled, hollow, lost-wax,
|
| 2617 |
cast. There is a firing crack at the point of contact between the tat
|
| 2618 |
of the dolphin and Cupid. The wing behind Cupid's right shoulder
|
| 2619 |
is broken off. A plug is evident beside the quiver and in Cupid's
|
| 2620 |
right thigh. The bow is missing from Cupid's left hand where minute
|
| 2621 |
traces of solder remain. The hole between the finger and thumb of
|
| 2622 |
Cupid's right hand has apparently been drilled, presumably to take
|
| 2623 |
a bow string. There are holes in the bronze (e.g. on top of the
|
| 2624 |
head), some of them caused by chaplet pins. Three such pins are
|
| 2625 |
still in place in the integral naturalistic base. A small arched aperture
|
| 2626 |
is cut out of the back of this base, presumably to admit a pipe which
|
| 2627 |
enabled the dolphin to spout. Mounted on an oval, moulded, base
|
| 2628 |
of ebonized wood. `8.434 G' is painted in black on the rim of the
|
| 2629 |
integral bronze base.
|
| 2630 |
I.ent by C. D. E. Fortnum in March 1888 and given later in the
|
| 2631 |
same year. 8.423 in his catalogues. `1 bought it in Italy', Fortn`rm
|
| 2632 |
observed in his large catalogue, but there is no note of provenance
|
| 2633 |
in the earlier notebook catalogue. A manuscript sheet headed
|
| 2634 |
`Memoranda of prices pald', includes the entry under 1859 `Br.
|
| 2635 |
Cupid on Dolphin dlt' for the sum of £2 10j..
|
| 2636 |
Fortnum who seldom expressed his enthusiasm in his
|
| 2637 |
catalogue had recourse to slang in describing the merits of
|
| 2638 |
this tittle bronze: `thc vigorous action and "go" denotes the
|
| 2639 |
modching of an able ha.nd'. Hc considered it to be `probably
|
| 2640 |
Venetian' and of the mid-sixtccnth century and observed that
|
| 2641 |
`it probably fomed part of a table fountain, a pipe having
|
| 2642 |
passed from behind through the dolphin's mouth'. On the
|
| 2643 |
opposite page of his notebook catalogue hc recorded the
|
| 2644 |
version in the collection of sir RIchard Wallace, an ungrded
|
| 2645 |
bronze today in the Wallace Collection (S85), which differs
|
| 2646 |
in minor details (having a different cap and fluttering ribbons
|
| 2647 |
on the quiver for instance), is better preserved, but is a similarly
|
| 2648 |
thin cast (now stopped up with wax) with firing cracks in one
|
| 2649 |
arm and on top of Cupid's right wing. Bode included the
|
| 2650 |
WalLacc bronze .in his Italian Bronac Statuettes Of the
|
| 2651 |
Rc"¢¢.fj¢#cc (London, 1907-12), ii, pl. Cljxv) as Venetian
|
| 2652 |
and of about 1575. C. F. Bell added a note to Fortnum's
|
| 2653 |
large catalogue that another example was in the collection of
|
| 2654 |
Alfred Beit and had been exhibited at the Royal Academy in
|
| 2655 |
the winter exhibition of 1904. Bode included this in his
|
| 2656 |
Italian Bronac Statuettes Of the Renaissance (i, pl. XLI1) as
|
| 2657 |
Florentine in origiv, or at least influence, and of the mid-sixteenth
|
| 2658 |
century. (This version remains in the Beit Collection
|
| 2659 |
at Russborough.) Another version was in the collection of
|
| 2660 |
the dcalcr T. M. Whitehead sold Christie's, London, 10 May
|
| 2661 |
1898, lot 101 (with a provenance from the Junze Collection
|
| 2662 |
sold seven years before in Paris): this was acquired by George
|
| 2663 |
Salting and formed part of his bequest to the Victoria and
|
| 2664 |
60
|
| 2665 |
Albert Museum (A.103-1910). This last version is gilded, like
|
| 2666 |
the Ashmolcan's, but, as with the Wallace bronze, there are
|
| 2667 |
minor variations in the modelling-the dolphin's tat does not
|
| 2668 |
make contact with Cupid's thigh as it does in the Oxford
|
| 2669 |
version-nd there are similar imperfections in the casting.
|
| 2670 |
There is also a variant of the group in which a very similar
|
| 2671 |
Cupid, but without a blindfold and with his right hand futhcr
|
| 2672 |
back, as if hc had just shot his bow, is seated on the dolphin's
|
| 2673 |
back. A version is in the National Gallery of Art in Washington
|
| 2674 |
(A.203.4lc) displayed as `Venetian, second half of the
|
| 2675 |
sixtccnth ccntury' (following J. Pope-Hennessy, Coowp/c£G
|
| 2676 |
Catalogtte Of the Sunttel H. Kress Collection.. Renaissance
|
| 2677 |
Brt7»2;eJ (Ijondon,1965), no. 520, fig. 553); another was at
|
| 2678 |
Christic's, I.ondon,13 December 1988, lot 136
|
| 2679 |
(uniuustratcd), and a third, Slded, version, attached to a
|
| 2680 |
fohatc backplate, scrvcd as the spout for a Ming blue and
|
| 2681 |
white baluster vase adapted as a table cistcm which was at
|
| 2682 |
Christie's, I.ondon, 6 December 1988 (mustrated there and
|
| 2683 |
also in Christie'§ International Magazine (RIov.-Dec. \988),
|
| 2684 |
46-7). These may bc invented at a later date than the more
|
| 2685 |
crisply modelled and dynamically composed group of the
|
| 2686 |
standing, blindfold Cupid. In any case they sccm to have been
|
| 2687 |
cast at a later date for one such group appears on a clock of
|
| 2688 |
about 1685 made for the English Crown by the ljondon
|
| 2689 |
maker Jeremic Gregory (Victoria and Albert Museum, W. 35-
|
| 2690 |
1976).
|
| 2691 |
Anthony Radcliffc, who first noted the version on the clock,
|
| 2692 |
was also the first to note that the Cupids in thcsc bronzes
|
| 2693 |
are of the same type (possibly even from the same model) as
|
| 2694 |
one that rides a galloping wild-maned horse in a bronze
|
| 2695 |
bronze group which survives in several versions and which is
|
| 2696 |
documented in the inventory of Charles I's collection as a
|
| 2697 |
work by `ffiancisco ffancllo', `ffiancisco the one eyed Italian'
|
| 2698 |
(A. Radcliffe and P. Thornton, `John Evelyn's Cabinet',
|
| 2699 |
Co»"o¢.ffc#7 (Apr. 1978), 262 n. ). Just as the Cupid rode both
|
| 2700 |
a dolphin and a horse, so the horse was ridden by St. George
|
| 2701 |
as wen as by Cupid (for this group see I. Pope-Henncssy,
|
| 2702 |
`Some Bronze Statuettes by Francesco Fanelli', EJJ¢yr o„
|
| 2703 |
Jf#/¢.¢„ Sc"/P£„rc (London,1968),166-71 ).
|
| 2704 |
Fanelli ieceivcd payment for work for King Charles I on 8
|
| 2705 |
May 1635 and on 20 November received an additional
|
| 2706 |
payment from the Crown. In 1640 he signed the bust of the
|
| 2707 |
Prince of wales (today at Wclbeck Abbey) as `Sculptor to the
|
| 2708 |
RIng'. Vertuc recorded in the eighteenth century that he died
|
| 2709 |
in England but it has been conjectured that hc went into
|
| 2710 |
exile with the court in the carly 1640s and it is significant that
|
| 2711 |
one edition of his V¢".c ¢rc¢¢.£G##7iG appeared in Paris in
|
| 2712 |
1661. Hc may have returned to England after this (or of
|
| 2713 |
course before, for there is no reason to suppose that hc
|
| 2714 |
directly supervised this or any edition). On the title-page of
|
| 2715 |
the book Fanclli is described as sculptor to the king of
|
| 2716 |
Enaland-presumably Charles 11, unless the pubhshcr was
|
| 2717 |
employing an earlier text or indeed republishing the book.
|
| 2718 |
Here, as in the signature on the bust cited above, Fanelli
|
| 2719 |
insists on his Florentine origivs.
|
| 2720 |
Fanelli is in fact recorded in Genoa in January 1608 as the
|
| 2721 |
son of a Florentine sculptor, Virgilio Fanelli, casting bronze
|
| 2722 |
putti for an altar. Between July and October of the following
|
| 2723 |
year he was making a crucifix for G.-D. Spinola to the
|
| 2724 |
approval of the palntcr Giovanni-Battista PagS, and a smaller
|
| 2725 |
bronze crucifix, with a `zoccolo in forma di Monte' which
|
| 2726 |
was fitted with openings to serve as a cabinet, is mentioned
|
| 2727 |
as made by him for the same Genocsc patron in the following
|
| 2728 |
year. He is recorded on 4 September 1620 as receiving the
|
| 2729 |
commission to cast (`Manifatturarc') all of the bronzes for
|
| 2730 |
the Chapel of Our Lady in the Chiesa dclla Vigna, Genoa,
|
| 2731 |
under the supervision of Paggi and the sculptor Battista
|
| 2732 |
Orsolino. On 26 May 1627 he was commissioned to cast the
|
| 2733 |
bronze capitals of the sane chapel. (G. Varni, R¢.cor¢¢. dG.
|
| 2734 |
ql.:uni fepditori in bronac (GenoaL, L879), 52-3, and I.
|
| 2735 |
A+zRri,,N`o,t`ifje,deiproif?fsorideldisegnoinLeguriadalleorigini
|
| 2736 |
a/ fGco/a Xvr, 6 vols. (Genoa, 1870-80), vi. 196-9, and 394-
|
| 2737 |
6). Although it is generally assumed that his small bronzes
|
| 2738 |
made for English collectors (notably King Charles I and the
|
| 2739 |
duke of Newcastle) were first made in England, Fancm may
|
| 2740 |
have brought the moulds from Italy and the fact that a number
|
| 2741 |
of his small bronzes, including this one, have an Italian
|
| 2742 |
provcnancc also suggests this. (In this connection see also the
|
| 2743 |
entry for No. 492.)
|
| 2744 |
The fact that the Ashmolcan's Cg¢P¢.d o# ¢ ch/4¢¢.# served
|
| 2745 |
as a table fountain renrinds us of Fanclli's designs for grottoes
|
| 2746 |
and garden watervorks pubhished in V¢„.c ¢7ic4G.£e#eerG. This
|
| 2747 |
usually has a title-page dated Paris 1661 (but the copy in the
|
| 2748 |
Ashmolean Museum is undated). No two copies of this `book'
|
| 2749 |
seem to be compiled in the same order (I have inspected six).
|
| 2750 |
The plates were also issued in two series with separate titles:
|
| 2751 |
F?ntaip.e_s e? .jets d'?an, dessin6s d'apr¢s |s;Nc] les [has beaus
|
| 2752 |
li.e.tt.x d:Italie |!ar Fr. Fanelli Flor;ntin-Sc;lpterir dtt rot
|
| 2753 |
¢'4gleterre and De§sins de grottos par Fa!;elli (Bri;dsh
|
| 2754 |
Museum,1937-9-15-442-I-255). The former of these titles
|
| 2755 |
is significant because it acknowledges the unoridnality of the
|
| 2756 |
designs. The documents from Genoa suggest that in his larger
|
| 2757 |
work at least Fanelli worked under the direction of other
|
| 2758 |
artists, as well as making clear that he was a founder. Sandrart
|
| 2759 |
whilstclaimingthathcattractedthcattcntionofKingCharles1
|
| 2760 |
by a work in ivory also emphasizes his direct involvement with
|
| 2761 |
metal casting, his bronzes requiring no after work with either
|
| 2762 |
chisel or Elf i, schneiden oder f ellen (Teut§che Academic
|
| 2763 |
(Nuremberg, 1675), i. 350). It is indeed the case that this
|
| 2764 |
bronze and others by him have received little or no toohng.
|
| 2765 |
The results arc often very rough but this may have been
|
| 2766 |
acccptablc to patrons appreciative of the unfinished in other
|
| 2767 |
art forms such as old master drawings. One wonders whether
|
| 2768 |
thercisaconnectionbetweenFanclhiandtheltalianworkshop
|
| 2769 |
which produced the series of bronzes of which the Triton
|
| 2770 |
inkstand (No. 232) is an example, also remarkable for their
|
| 2771 |
lack of tooling. That workshop was also notable for
|
| 2772 |
permutations of stock elements. Fanelli's dolphin is similar to
|
| 2773 |
those which this workshop employed. The subject of Cupid
|
| 2774 |
riding such a fish however was a favourite one in the miniature
|
| 2775 |
arts of the Greeks and Romans-as exemplified, for example,
|
| 2776 |
by some gold ear-pendants in the Ashmolcan Museum
|
| 2777 |
(Oldficld Bequest no. 29)-as Fanem and his patrons surely
|
| 2778 |
knew.
|
| 2779 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2780 |
Since this catalogue entry was written my attention has
|
| 2781 |
been drawn to the fuller biographical account and survey of
|
| 2782 |
the artist's work made by Patricia Wengraf for the catalogue
|
| 2783 |
o£ Cpe chi:hi[iton Kunst in der Repttbli-k Gentta 1528-18-15
|
at the Schim Kunsthalle, Frankfurt August-November, 1992.
|
| 2785 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2786 |
Probably by Francesco FANELLI (active 1609nd2)
|
| 2787 |
@@PROCESS
|
| 2788 |
492. Laoco6n with his two sons
|
| 2789 |
10.55 cms. (height); 10.45 cms. (length); 4.I cms. (width)
|
| 2790 |
Bronze, with a warm brown natural patina and traces of black varnish
|
| 2791 |
in the hollows. Hollow, lost-wax, cast. There are two small holes
|
| 2792 |
in the back of I.aoco6n himself, and one similar hole beside his left
|
| 2793 |
foot. Integral rectangular plinth. Mounted on a block of fine
|
| 2794 |
patterned and unusually pink porphyry. `8 /451 G' is palntcd in
|
| 2795 |
white on the rear of the rock-work upon which the figures arc seated
|
| 2796 |
(the numerals are partially worn off).
|
| 2797 |
I.cnt by C. D. E. Fortnum in March 1888 and given by him later in
|
| 2798 |
the same year. 8. 451 in his catalogucs. Bought at the Dc I,a Salle
|
| 2799 |
sale in London for £21, according to the notebook catalogue. The
|
| 2800 |
margin of the notebook catalogue is also annotated with a resolution
|
| 2801 |
to rcnumber the bronze as 8. 462.
|
| 2802 |
Fortnum in his large catalogue wrote of this that `the
|
| 2803 |
modelling is very spirited, able, and artistic; it is cast directly
|
| 2804 |
from the wax'. He was aware of another version in the
|
| 2805 |
collection of J. C. Robinson (exhibited at the Burlington Fine
|
| 2806 |
Arts Club in 1879, no. 125) and noted that it differed in the
|
| 2807 |
details. C. F. Bell annotated the manuscript catalogue with
|
| 2808 |
rcfcrcnccs to one in Wiuiam Ncwall's collection exhibited at
|
| 2809 |
the Winter Exhibition of the Royal Academy in 1904 (case I,
|
| 2810 |
no. 10-this was sold at Christie's, I.ondon, 27-9 June 1922,
|
| 2811 |
lot 44) and to two in Florence-the versions now on display
|
| 2812 |
in the Bargello, numbered 531 (formerly 149, from the Uffizi,
|
| 2813 |
and hence probably the Grand Ducal Collections) and one
|
| 2814 |
numbered 219c (from the Carrand Couection). One is also
|
| 2815 |
in the Staathchc Museen, Berlin-Dahlem ( 1953, in reserve;
|
| 2816 |
Bode, Italian Bronac Statuettes Of the Ranai§§ance (London,
|
| 2817 |
1907-12), pl. LXXXIV) and another is in the Fitzwilliam
|
| 2818 |
Museum, Cambridge (M24-1951).
|
| 2819 |
All these works are very close in character and size and the
|
| 2820 |
differences are best explained by there being moulds fi-om
|
| 2821 |
which wax casts were made which had to be worked up before
|
| 2822 |
investiture for the bronze casting. Thus in the larger foms,
|
| 2823 |
the rock, the body of I.aco6n, and indeed his head, there is
|
| 2824 |
little variation, whereas the snakes are always varied and so is
|
| 2825 |
the raised am of the boy to proper left of the group.
|
| 2826 |
The group is loosely based on the famous antique marble
|
| 2827 |
group in the Vatican but the sculptor has imagived the action
|
| 2828 |
as it would develop, with one son having given up the struggle.
|
| 2829 |
Fortnum noted that a similar attitude to the subject was taken
|
| 2830 |
by the modeller of one of his Renaissance medals (no. 707 in
|
| 2831 |
his catalogue, 120.19 in the Museum's typescript catalogue;
|
| 2832 |
Mohinier 615 ).
|
| 2833 |
The Leocod." groups must bc associated with others
|
| 2834 |
reprcscnting the Dc¢£b a/Acf¢eo„, Ve#"f ¢„d Ade„G.f, and
|
| 2835 |
07P4e"f ¢#¢ CG#4cr#f ( all represented in the Victoria and
|
| 2836 |
Albert Museum, but also, with variations, in other collections)
|
| 2837 |
which are of similar size and modelled in the same way, cvcn
|
| 2838 |
with the same thin vermiculate elements reflecting a technique
|
| 2839 |
of rolling the wax, and cast with the same thin walls and
|
| 2840 |
frcqucnt perforations and cracks, and little if any tooling. In
|
| 2841 |
turn these bronzes must be associated not only with larger
|
| 2842 |
62
|
| 2843 |
groups of the same and similar subjects but with rclicfs, and
|
| 2844 |
in particular a pair reprcscnting CbrG.¢ c¢»)i¢."g fife C#orJ and
|
| 2845 |
th:a Holy Funily with the robberJs child (rcpreseITted in
|
| 2846 |
numerous public collections including the Victoria and Albert
|
| 2847 |
Museum, the Metropolitan Museum, New York, the
|
| 2848 |
Minneapolis Institute of Art, and the Spenccr Art Gallery of
|
| 2849 |
the University of Kansas at I.awrencc). These reliefs in turn
|
| 2850 |
arc very close in technique and quite close in style to the little
|
| 2851 |
square reliefs representing aninals and the larger reliefs
|
| 2852 |
raprcsendmg Orphetts charming the animal kingdom a;nd cha
|
| 2853 |
reowp£¢f¢.a" a/Ad¢co ¢#d Epc (for which see A. Radcliffc and
|
| 2854 |
P. Thornton, `John Evelyn's Cabinct', Co„„o¢.JJc#7 (Apr.
|
| 2855 |
1978), 254ndl ). These in turn arc similar in technique to
|
| 2856 |
and have some compelling stylistic similarities with the little
|
| 2857 |
bronzcs which correspond to those described by Vcrtue in
|
| 2858 |
the eighteenth century as by Fanclli and belonSng to the earl
|
| 2859 |
of Oxford, having oridnally been made for the duke of
|
| 2860 |
Newcastle (J. Pope-Hcnncssy. `Somc Bronze Statuettes by
|
| 2861 |
F[ancesco Fanelli:' , Essays on Italian Sculptwre (Ijondon,
|
| 2862 |
1968),166-71).
|
| 2863 |
Reviewing these highly convincing connecting chains
|
| 2864 |
chiefly built up by Jcnnifer Montagu and Anthony Radcliffe
|
| 2865 |
it must be admitted that no direct connection can be made
|
| 2866 |
betwccn the style of the miniature L¢ocod." groups and any
|
| 2867 |
of the statuettes listed by Vertue, or included in the inventory
|
| 2868 |
of King Charles I, as by Fanelli. If the L¢ocod.„ groups are by
|
| 2869 |
Fanclli then it is intcrcsting that one version at least has an
|
| 2870 |
old Italian provenance, for it suggests that hc made some of
|
| 2871 |
them before settling in England. Before the connection with
|
| 2872 |
Fanelli was proposed, the IA¢ocod." groups were generally
|
| 2873 |
considered to be Italian of the sixteenth century and this was
|
| 2874 |
also Fortnum's opinion. One version in the Bargcllo has
|
| 2875 |
recently been published as Geman (A7¢¢. ¢e/ A4ledS.oovo G ¢c/
|
| 2876 |
Rinaccimento-Oma{qqio ai Carmnd (Florence. L989), 26\ ,
|
| 2877 |
no. 46).
|
| 2878 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2879 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2880 |
Probably William Pitts ( 1790-1840)
|
| 2881 |
After John FIAXMAN ( 1755-1826)
|
| 2882 |
@@PROCESS
|
| 2883 |
493. Shield of Achilles
|
| 2884 |
95.5 cms. (diameter)
|
| 2885 |
Bronze with a dark chestnut brown to black patina. Sand-cast in
|
| 2886 |
two chief pieces: the central circle, with the continuous line of stars
|
| 2887 |
on the circumference, as one piece, and the remainder as the other
|
| 2888 |
piece. On the reverse the irregular rim of the outer piece may be
|
| 2889 |
seen, folded over at the soldered junction with the central circle.
|
| 2890 |
The six projecting forelegs and two projecting heads of the horses
|
| 2891 |
of Apollo have all been cast separately. Some of the attachments are
|
| 2892 |
visible in the hollowed reverse. In the case of the foremost legs
|
| 2893 |
nearest the centre to either side it is not the whole but merely most
|
| 2894 |
of the leg that has been cast separatelyut hair-line join above the
|
| 2895 |
knees can be seen on close inspection. The reverse of the outer piece
|
| 2896 |
reveals at least three vestigial seams corresponding to the manner in
|
| 2897 |
which the mould was assembled. Two suspension rings are soldered
|
| 2898 |
to the reverse of the central circle and two to one side (not to the
|
| 2899 |
top) of the outer rim.
|
| 2900 |
Given by `Messrs. Rundell and Bridge' on 14 October 1842
|
| 2901 |
(Minutes of Hebdomadal Board) payments are recorded for `Iron
|
| 2902 |
work for Shic[d' on 13 April 1846 probably in connection with
|
| 2903 |
hanSng it in the University Galleries. It was placed in the Principal
|
| 2904 |
Sculpture Gallery (now the Randolph Gallery) near Westmacott's
|
| 2905 |
T77.¢/ a/Soc7i¢fgf (No. 589 ) and the small copy of the Dy¢."gg/¢¢;¢£07
|
| 2906 |
(ENo. 5L9). (Handbook Gttide f or the University Galleries (Oxford,
|
| 2907 |
1865),14). (A cast of the shield now in the Fitzwilliam Museum
|
| 2908 |
was given to the University of Cambridge by Rundell and Bridge in
|
| 2909 |
1842). The shield has long hung in the centre of the north wall of
|
| 2910 |
the Print Room above the cabinets: it is likely to have been placed
|
| 2911 |
there at the same date as the groups by Alfred Stevens (Nos. 571-
|
| 2912 |
2) which flank it.
|
| 2913 |
The reconstruction of the storiated armour described in
|
| 2914 |
ancient epic poetry had much' exercised antiquarians and
|
| 2915 |
artists in the eighteenth century, but the fabrication of such
|
| 2916 |
in metal was typical of the last century. It is not known when
|
| 2917 |
exactly Flaxman was commissioned by the royal goldsmiths
|
| 2918 |
and jewcllers Rundell, Bridge and Rundell of 32 Ludgate
|
| 2919 |
Hill, Ijondon, to design a modern version of the most famous
|
| 2920 |
of such pieces of armour, the shield fashioned by Hephaestus
|
| 2921 |
for Achilles and described at length near the cnd of the
|
| 2922 |
eighteenth book of the I/¢.¢¢. Nor is it clear whether the idea
|
| 2923 |
came from the goldsmiths or from Flaxman himself: Flaxman
|
| 2924 |
was certainly an obvious choice since he had made his
|
| 2925 |
reputation with his illustrations for Homer and connoisseurs
|
| 2926 |
may well have realized that he excelled in relief on a relatively
|
| 2927 |
small scale.
|
| 2928 |
Maria Denman, Flaxman's niece, protested against Alan
|
| 2929 |
Cunningham's suggestion that Flaxman's source was Pope's
|
| 2930 |
translation. We need not suppose that Flaxman was a classical
|
| 2931 |
scholar, as she implied, but his study of the poetry was
|
| 2932 |
certainly as reverential as his treatment of it was imaginative.
|
| 2933 |
The a]:ronyrrLorus Memoirs Of the late Philip Rundell (Lendon>
|
| 2934 |
1827), 22-3, pictures the learned goldsmith listening for
|
| 2935 |
hours on end to the learned sculptor reading from the I/G.¢d
|
| 2936 |
which suggests a finiliarity between them that is improbable,
|
| 2937 |
64
|
| 2938 |
but the commission certainly was conceived more as artistic
|
| 2939 |
`sponsorship' rather than a mere commercial venture. The
|
| 2940 |
sponsorship had a promotional aspect of course but this
|
| 2941 |
depended upon the work being relished by scholars and
|
| 2942 |
connoisseurs. The chief source surely ty¢f Pope's translation.
|
| 2943 |
There shone the image of the master-mind:
|
| 2944 |
There earth, there heaven, there ocean he designed;
|
| 2945 |
The unwearied sun, the moon completely round;
|
| 2946 |
The starry lights that heaven's high convex crown'd . . .
|
| 2947 |
The centre of the shield rcprescnts the heavens and the border
|
| 2948 |
the oceans. The circuit of reliefs between represents life on
|
| 2949 |
earth. Flaxman places the chariot of the sun in the centre of
|
| 2950 |
his shield surrounded by the constellations, giving the sun an
|
| 2951 |
emphasis which is not found in Homer, but he must have felt
|
| 2952 |
that some climax and focus was essential and this was certainly
|
| 2953 |
appropriate. The circuit of reliefs commences below the centre
|
| 2954 |
at 6.00 and progresses anticlockwise.
|
| 2955 |
Here sacred pomp and genial feast delight,
|
| 2956 |
And solemn dance, and hymeneal rite.
|
| 2957 |
The feasting is seen in the background; the bridal procession
|
| 2958 |
in front. This graduates into a scene of citizens quarrelling
|
| 2959 |
over homicide (a supine victim can just be perceived on the
|
| 2960 |
ground) and over the payment of a debt, which is followed
|
| 2961 |
by a judicial appeal presided over by elders on stone seats.
|
| 2962 |
Then there is an abrupt transition (abrupt in Homer as well)
|
| 2963 |
to a scene of warfare before a besieged city. Some of the
|
| 2964 |
besieged ambush their assailants, assisted by Minerva and
|
| 2965 |
Mars. Flaxman chose not to emphasize the slaughter of sheep
|
| 2966 |
and oxen which this entailed, but one carcass of each animal
|
| 2967 |
can be seen to the right. There is then another transition.
|
| 2968 |
Oxen driving ploughs are represented moving in two
|
| 2969 |
directions and the landlord waits to reward the sweating
|
| 2970 |
labourers with a goblet when they ton round. Beside this is
|
| 2971 |
a field of grain which is cut with sickles by men, bound into
|
| 2972 |
sheaves by women, and carried off by children. Meanwhile an
|
| 2973 |
ox is slaughtered for the harvest feast. Next we see the vines
|
| 2974 |
gathered in and four brave herdsmen with nine cowardly
|
| 2975 |
dogs confronting a predatory pair of lions.
|
| 2976 |
The last scene represents a dance:
|
| 2977 |
The maids in soft simars of linen dress'd;
|
| 2978 |
The youths all graceful in the glossy vest:
|
| 2979 |
Of those the locks with flowery wreath inroll'd;
|
| 2980 |
Of these the sides adorn'd with swords of gold,
|
| 2981 |
That glittering gay, from silver belts depend.
|
| 2982 |
Now all at once they rise, at once descend,
|
| 2983 |
With well-taught feet: now shape in oblique ways,
|
| 2984 |
Confusedly regular, the moving maze:
|
| 2985 |
Now forth at once, too swift for sight, they spring,
|
| 2986 |
And undistinguish'd blend the flying ring:
|
| 2987 |
So whirls a wheel, in giddy circle toss'd,
|
| 2988 |
And, rapid as it runs, the single spokes are lost.
|
| 2989 |
The gazing multitudes admire around:
|
| 2990 |
Two active tumblers in the centre bound . . .
|
I-
|
| 2992 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 2993 |
The economy with which Flaxman represents this in a few
|
| 2994 |
inches is worthy of special comment, as is his intelligence in
|
| 2995 |
combining it with the marriage procession so that that relief
|
| 2996 |
divides into thrcc rather than four pairs: Peace, War, and the
|
| 2997 |
sources of wealth and health (bread, wine, and meat).
|
| 2998 |
Flaxman's close attention to the text is remarkable and
|
| 2999 |
apart from the emphasis given to Apollo the only important
|
| 3000 |
difference lies in his avoidance of pictorial effects, the city
|
| 3001 |
background for the marriage, and still more the landscape with
|
| 3002 |
forests, sheep folds, and pasture upon which Homer dwells
|
| 3003 |
after his description of the lion attack. Flaxman knew of
|
| 3004 |
course that ancient Greeks would not have included such
|
| 3005 |
effects in a sculpture. Indccd even the very low-relief
|
| 3006 |
backgrounds and overlapping planes that hc does allow were
|
| 3007 |
such as one would not find in ancient Greek work. (In this
|
| 3008 |
respect Ludwig van Schwanthalcr's S¢¢.G/¢ a/He7i¢4/Gf in the
|
| 3009 |
Liebieghaus, Frankfurt, may bc taken as a purist correction
|
| 3010 |
of Flaxman. ) The most surprising respect in which Flaxman's
|
| 3011 |
shield departs from Homer's is that it was made in uniform
|
| 3012 |
silver gilt or uniform dark brown bronze whereas the passage
|
| 3013 |
in Homer, like most poetic accounts of ancient metalwork,
|
| 3014 |
emphasizes variety of colour from alloys, inlays, burnishing,
|
| 3015 |
or patina. Thus the waves on the edge should be bright silver,
|
| 3016 |
the harvests should bc bright gold, and, in the dance, the men
|
| 3017 |
have gold swords hung on silver belts.
|
| 3018 |
It has been suggested that the shield origivated in a plan
|
| 3019 |
for plate to be prcscnted to the duke of wellington and this
|
| 3020 |
is not impossible when it is recalled that the `Ijadics of Great
|
| 3021 |
Britain' erected a colossal bronze statue of Achilles as a tribute
|
| 3022 |
to the duke. Certainly the similarly large and elaborate
|
| 3023 |
storiated shield commissioned in 1814 by the Merchants and
|
| 3024 |
Bankers of the City of I.ondon for presentation to the duke
|
| 3025 |
of wellington (today in Apsley House) and made for Green,
|
| 3026 |
Ward and Green, the chief rivals of Rundell, Bridge and
|
| 3027 |
Rundell, by Benjamin Smith after designs by Thomas
|
| 3028 |
Stothard, a friend of Flaxman, must have been a significant
|
| 3029 |
stimulus since it was being made in the same period-it seems
|
| 3030 |
in fact to have been completed a little later. And it is probable
|
| 3031 |
that Flaxman had hoped to secure this commission.
|
| 3032 |
Nevertheless the first rcfercnccs to the shield are still earlier
|
| 3033 |
in date. A letter from the firm dated 29 October 1810 (on
|
| 3034 |
fo. 98 of the volume of autograph letters to William Hayley
|
| 3035 |
in the Fitzwilliam Museum) mentions a payment of 15
|
| 3036 |
guineas for three drawings and one of loo guineas `for the
|
| 3037 |
beautiful design of the shield of Achilles', adding `we do not
|
| 3038 |
attempt to put a price upon that excellent performance'. The
|
| 3039 |
letter continues, `we trust that Mr Theed under the occasional
|
| 3040 |
inspection, which you have been kind enough to promise, will
|
| 3041 |
be able to execute to your satisfaction this exquisite design'.
|
| 3042 |
The plan for Theed to execute the model must have been
|
| 3043 |
abandoned and the whole idea revised for in a letter of 8
|
| 3044 |
September 1814 Flaxman's wife wrote that he had
|
| 3045 |
`recommcnc'd the model of the famous shield upon a larger
|
| 3046 |
plan' (ibid. fo. 47).
|
| 3047 |
Flaxman entered £200 in his ledger `on account of shield
|
| 3048 |
of Achilles' on 4 January 1817-it is clear, however, from
|
| 3049 |
other sources that work on the revised commission
|
| 3050 |
Commenced considerably earlier. He recorded below this
|
| 3051 |
entry that he had been paid £525 (i.c. 500 guineas) on 20
|
| 3052 |
January 1818 for the `model' (MS ledger in the Montgomery
|
| 3053 |
Library, Columbia University, New York, p. 93, using page
|
| 3054 |
numbers at tops of pages, nearest the binding). There are no
|
| 3055 |
entries in Flaxman's ledger for Rundell, Bridge and Rundell
|
| 3056 |
with an earlier date, but subsequent entries continue to the
|
| 3057 |
cnd of his life. These other entries are specifically for `sketches',
|
| 3058 |
`drawings', or `designs') (e.g. `skctch for an ink stand', `two
|
| 3059 |
drawings of a candelabrum for the Queen') and all recorded
|
| 3060 |
payments are for no more than 8 guineas with two exceptions:
|
| 3061 |
a payment of 20 guineas made on 10 January 1818 for `2 bas
|
| 3062 |
reliefs for Mr. Kemble's cupndelivered to Mr. Storr' and
|
| 3063 |
one for `6 designs for the Ambassadors Box' for which hc
|
| 3064 |
received 25 guincas on 25 December 1825. The number of
|
| 3065 |
drawings supplied is an adequate explanation for the high
|
| 3066 |
payment in the second case, but in the first one might suspect
|
| 3067 |
that a model was involved. J. T. Smith, who was well
|
| 3068 |
acquainted with the circumstances of the Kemble
|
| 3069 |
prcsenta.don, noccd (Nollchens and His Times (-Ijondon,
|
| 3070 |
1828), ii. 448) that Flaxman did not take payment for his
|
| 3071 |
drawings in this case but also noted that the models were
|
| 3072 |
made by his pupil E. H. Baily (who was a major source for
|
| 3073 |
his information on Flaxman), so Flaxman was probably
|
| 3074 |
accepting payment on Baily's behalf. It would seem then that
|
| 3075 |
Flaxman did not become chief modeller to Rundell, Bridge
|
| 3076 |
and Rundell as has been claimed (D. Irwin, Jo¢» F/¢I¥ow¢"
|
| 3077 |
(London, 1979), 194) but may only have modelled the S4¢.c/d
|
| 3078 |
a/Ac¢¢.//cf for the firm. Certainly the payments for the S4¢.c/d
|
| 3079 |
a/Ac4¢.//cf arc altogether exceptional.
|
| 3080 |
It is reasonable to assume that the models for the shield
|
| 3081 |
would have been made in clay or wax from which a plaster
|
| 3082 |
cast would have been taken. J. T. Smith, presumably relying
|
| 3083 |
on Baily's account, wrote that Flaxman `first modelled the
|
| 3084 |
general design, without attending minutely to the rcspcctive
|
| 3085 |
parts; it was then moulded in compartments, and cast in
|
| 3086 |
plaster, and he afterwards finished it up by cutting away to
|
| 3087 |
that inimitable height of excellence, which enabled his spirited
|
| 3088 |
employers to produce the splendid casts of it in silver Slt . . .'
|
| 3089 |
(op. cit. 446). It must have been of a special type of gesso
|
| 3090 |
for plaster of Paris cannot safely be tooled. This model was
|
| 3091 |
either in five parts or was divided into five parts-uter rim,
|
| 3092 |
inner circle, and three sections of frieze-from which moulds
|
| 3093 |
were made. From these moulds silver, bronze, and plaster
|
| 3094 |
casts could be made. The casts in silver and bronze would
|
| 3095 |
have required extensive tooling and it was doubtless for this
|
| 3096 |
reason that Flaxman also supplied finished drawings.
|
| 3097 |
Four silver Slt casts were made of the shield. One had been
|
| 3098 |
cast by late September 1819 and was reported as so perfect
|
| 3099 |
that little finishing was needed. As S. Bury and M. Snodin in
|
| 3100 |
`The Shield of Achilles', A77 ¢f A"c£;o#, So£¢Gky IP83-1984
|
| 3101 |
(I.ondon, 1984) 274-83, point out, this is likely to have been
|
| 3102 |
the cast with the date letter for 1821-2 made for King Gcorgc
|
| 3103 |
IV (which remains in the Royal Collection). It was on display
|
| 3104 |
at the Coronation Banquet in July 1821. Another with the
|
| 3105 |
same date letter was made for the duke of York (today in the
|
| 3106 |
Huntington Art Museum and Library, California). Two more
|
| 3107 |
were made with the date letter for 18234, one for the 2nd
|
| 3108 |
earl of I.onsdale (today at Anglesey Abbey, National Trust)
|
65
|
| 3110 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3111 |
and another for the duke of Northumberland (sold at
|
| 3112 |
Sotheby.s, I.ondon, 3 May 1984, lot 124, exhibited Christic's,
|
| 3113 |
I.ondon, January 1990, as part of the Al-Tajir Collection). In
|
| 3114 |
addition a linitcd edition of plaster casts, probably only three,
|
| 3115 |
were made-ne of these remains with the Royal Academy,
|
| 3116 |
another belonged to John Gawlcr Bridge, and a third
|
| 3117 |
belonged to Sir Thomas Lawrence. (A. Cunningham, £¢.t7cJ
|
| 3118 |
Of the British Painters, Scttlptors and Architects, .iri (`hondon.
|
| 3119 |
1833), 3524, says that three only were made and that these
|
| 3120 |
belonged to the Academy, to the artist himself, and to
|
| 3121 |
I.awrence. ) The value attached to these is clearly demonstrated
|
| 3122 |
by the fact that I.awrence's cast was bought by Rundell,
|
| 3123 |
doubtless worried about the opportunities for piracy it
|
| 3124 |
provided, at Lawrence's sale, Christie's, 6 July 1830, lot 68,
|
| 3125 |
for the surprisingly high price of fl3. 2j.. 6¢. This is likely to
|
| 3126 |
be the war-damaged cast presented to the British Museum by
|
| 3127 |
the firm. (There must also have been aftercasts of which the
|
| 3128 |
bronzed plaster which was exhibited at the Heim Gallery in
|
| 3129 |
the spring of 1976, no. 92, was surely an example.)
|
| 3130 |
It is not known when the bronzes were cast but it is possible
|
| 3131 |
that this did not take place until the 1830s. That the bronzes
|
| 3132 |
were finished by Pitts is clear from the evidence given by
|
| 3133 |
George Foggo to a Select Committee on Arts and
|
| 3134 |
Architecture in 1835 (cited by Bury and Snodin, pp. 52-3).
|
| 3135 |
The job involved the fitting of separately cast horse's legs and
|
| 3136 |
was highly complex. It is said that Pitts also worked on the
|
| 3137 |
chasing of the silver Slt versions of the S¢G.c/d a/Ac4¢.//cf and
|
| 3138 |
also on the Wellington shield: he was indeed better known
|
| 3139 |
for his work as a silver chaser (his father John Pitts, to whom
|
| 3140 |
hc was apprenticed, was also a chaser) than for work on
|
| 3141 |
bronze, but he was a versatile artist and was also responsible
|
| 3142 |
for work in stucco at Buckingham Palace. In any case it is
|
| 3143 |
remarkable how the tooling and construction of both the
|
| 3144 |
bronze versions is identical in character to the methods
|
| 3145 |
employed for the silver Slt ones.
|
| 3146 |
Pitts himself was said to have been working on a S4¢.c/d a/
|
| 3147 |
Ac"e¢f when hc died and the influence of Flaxman's shield
|
| 3148 |
was felt particularly in the middle years of the nineteenth
|
| 3149 |
century with such works as the chiselled steel shield of Italian
|
| 3150 |
poetry of c.185l by Antoine Vechte (Victoria and Albcrt
|
| 3151 |
Museum 1482-1852) or the electrotype Milton shield of
|
| 3152 |
1867 by Vechte's pupil I.eonard Morel-Ladeuil.
|
| 3153 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3154 |
Probably foundry of J. W. Singer and Sons, Frome, Somersct
|
| 3155 |
After Edward Onslow FORD ( 1852-1901)
|
| 3156 |
@@PROCESS
|
| 3157 |
494. Folly
|
| 3158 |
48.7 cms. (height including integral rock-work base); 10.6 cms.
|
| 3159 |
(diameter of rock-work base); 2.8 cms. (height of serpentine
|
| 3160 |
base); 12.5 cms. (diameter of serpentine base)
|
| 3161 |
Bronze with a black vanish in places slightly green and bl.own. The
|
| 3162 |
varnish is chipped in small areas on the rock-work base. Hollow,
|
| 3163 |
probably lost-wax, cast. Either the figure is cast separately from the
|
| 3164 |
rock-work base or remains filled with core: the hollow interior does
|
| 3165 |
not extend to the figure's legs. There appears to be a rectangular
|
| 3166 |
patch of metal inserted behind the knee of the figure's right leg
|
| 3167 |
(this could bc part of an angular join).
|
| 3168 |
Bequeathed by the Revd J. W. R. Brocklebank in 1927. No. 9, `a
|
| 3169 |
nude figure of a Nymph standing on rockwork 19" high by
|
| 3170 |
A. Gilbcrt', in Andrew Shirley's receipt of January 1927.
|
| 3171 |
Ford had received his artistic education in Antwerp and
|
| 3172 |
Munich. Trained as a painter, he tuned his attention to
|
| 3173 |
sculpture in the mid-1870s and his first great success was
|
| 3174 |
Fo//y, modelled 1885nd and exhibited at the Royal Academy
|
| 3175 |
in 1886 as a large bronze statuette, 3 ft hich, which was the
|
| 3176 |
Chantrey purchase (now Tate Ganery reserve). Another cast
|
| 3177 |
of this size is in the National Gauery of scotland, Edinburgh.
|
| 3178 |
A third was in the autumn of 1989 with the dealers Edric
|
| 3179 |
van Vredcnburgh and Dick Coats. This last cast is
|
| 3180 |
distinguished by the most extraordinary trcatmcnt of the hair
|
| 3181 |
as a mass of fine wire. The smaller casts of the size of the
|
| 3182 |
Ashmolcan's are far more common: there is one in the I.ady
|
| 3183 |
Lever Art Gallery, Port Sunlight, one was at Sothcby's,
|
| 3184 |
Ijondon, 16 April 1986, lot 258, and another was recently
|
| 3185 |
on the art market, dated 1893 but these smaller casts must
|
| 3186 |
have been made from a model available before 31 May 1890
|
| 3187 |
when the figure was said, in an article on small bronzcs in the
|
| 3188 |
S¢f#rdyRcp¢.era7,tohavcbecnavallablcinaneditionpublished
|
| 3189 |
by Arthur Leslic Collie, of 398 Bond St, who seems to have
|
| 3190 |
been associated with the establishment of lost-wax bronze
|
| 3191 |
casting by the Singer firm under the direction of Herbert
|
| 3192 |
Singer in 1888, or shortly before.
|
| 3193 |
There is an admirable account of the statuette's character,
|
| 3194 |
antcccdcnts, and appeal in Susan Beattie's 777c NGw Sc#/P£"7G
|
| 3195 |
(I.ondon and New Haven, Conn.,1983),153-5, to which
|
| 3196 |
one might only add the possible influence of the most
|
| 3197 |
attractive ( but least finiliar today) of I,ord Leighton's bronze
|
| 3198 |
figures, his bathing girl alarmed by a frog, NCG¢/cff 4/¢yxpf
|
| 3199 |
(a cast of which in the Victoria and Albcr[ Museum,1054-
|
| 3200 |
1905, is inscribed as published by Collie in November 1891,
|
| 3201 |
but which was certainly known before then).
|
67
|
| 3203 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3204 |
68
|
| 3205 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3206 |
After Dame Elisabeth FRINK (b. 1930)
|
| 3207 |
@@PROCESS
|
| 3208 |
495. Mirage
|
| 3209 |
37.6 cms. (height including integral plinth); 0.6 cms. (height of
|
| 3210 |
plinth); 20.5 cms. (length of plinth); 6.1 cms. (width of plinth)
|
| 3211 |
Aluminium. Solid, lost-wax, cast. Scratched `FRINK 4/7' on one side
|
| 3212 |
of the upper surface of the integra.I plinth. `pRESENTED By / MR. R.
|
| 3213 |
ALISDAIR (J¢.c) MCALPINE / 1969-136' painted in red on the
|
| 3214 |
underside of the plinth. A tape stamped `A 1839' is also stuck there.
|
| 3215 |
Given by Alistair MCAlpine of Fawley (now I.ord MCAlpine of west
|
| 3216 |
Grccn) in 1969. ReSstered on 4 July 1969.
|
| 3217 |
The Sft came soon after the purchase by the Dcpartmcnt of
|
| 3218 |
the large drawing A4l¢7e ¢»¢ b#// from an exhibition of Frink's
|
| 3219 |
work at the Waddington Gancries, Cork Street. Ijord
|
| 3220 |
MCAlpine's cncouragcmcnt of the Museum's interest in
|
| 3221 |
modem art was to lead to his donation of the MCAlpine
|
| 3222 |
Gallery, completed in 1973.
|
69
|
| 3224 |
BRITISH SCULI'TURES, BY ARTIST'S NAME
|
| 3225 |
George GARRARD ARA ( 1760-1826)
|
| 3226 |
@@PROCESS
|
| 3227 |
496. Thoroughbred stallion rearing
|
| 3228 |
10.6 cms. (height); 14.9 cms. (from tail to off-fore hoof); 2.4 cms.
|
| 3229 |
(height of plinth); 10.5 cms. (length of plinth); 7 cms. (width of
|
| 3230 |
plinth)
|
| 3231 |
Bronze with a dark brown varnish, chestnut where slightly worn,
|
| 3232 |
chipped in some places. Yellow metal is revealed in small patches
|
| 3233 |
on salient parts of tail and mane. Presumably hollow cast. There is
|
| 3234 |
much evidence of chiselling and punching. The tail is cast separately.
|
| 3235 |
There is a seam across the horse's chest. Stamped `G. GARRARD. ARA'
|
| 3236 |
on the belly of the horse. Bolted by the rear hoofs to a plinth of
|
| 3237 |
white marble. The underside of the plinth is inscribed by the former
|
| 3238 |
ouncr in pencil: ` 13 years / 1945 / May 1 / 1958'; `GARRARD ARA
|
| 3239 |
1760-1826'.
|
| 3240 |
Given by Mrs Gcrda Winser of Dean Buildings, Chipping Norton,
|
| 3241 |
on 9 November 1988. Purchased by her on I May 1945 for £1
|
| 3242 |
from a dealer who had recently obtained it, together with a clock,
|
| 3243 |
as a lot in a house sale of a descendant of the sculptor in Chipping
|
| 3244 |
Norton. Given by her to her late husband on their thirteenth
|
| 3245 |
wedding anniversary.
|
| 3246 |
70
|
| 3247 |
Garrard began his career as an animal painter, the pupn and
|
| 3248 |
a son-in-law of Sawrcy Gilpin. He exhibited paintings at the
|
| 3249 |
Academy from 1781 but in 1795 began to exhibit models of
|
| 3250 |
aninals-mostly British agricultural specimens, but also some
|
| 3251 |
more exotic examples. He exhibited a bust of a young lady in
|
| 3252 |
1801 and thereafter frequently exhibited portrait busts, some
|
| 3253 |
of them in marble. He showed some poetic subjects and
|
| 3254 |
strove, with little success, to obtain commissions for large
|
| 3255 |
monumental works, but was always chiefly esteemed for his
|
| 3256 |
small animal studies and portraits. It is not known when he
|
| 3257 |
began to specialize in bronze versions of such works but both
|
| 3258 |
statuettes and small busts in this medium were exhibited by
|
| 3259 |
him at the Royal Academy from 1812 onwards. Whether he
|
| 3260 |
was rcsponsiblc for the casting himself is not known, but hc
|
| 3261 |
had long been interested in editing his work in plaster and
|
| 3262 |
had been very active in petitioning Parliament for a Bin to
|
| 3263 |
secure copyright in sculpture (the Act passed in 1798-38
|
| 3264 |
Geo.Ill, c. 71). This bronze must date from after 1800 in
|
| 3265 |
which year he was elcctcd an Associate of the Royal Academy.
|
| 3266 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3267 |
Unknown foundry
|
| 3268 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 3269 |
@@PROCESS
|
| 3270 |
497. Perseus arning
|
| 3271 |
36.4 cms. (height, including integral bronze base); 3 cms. (height
|
| 3272 |
of integral bronze base); 11.6 cms. (diameter of bronze base)
|
| 3273 |
Bronze with a dark green to black patina. Hollow, sand-cast, in
|
| 3274 |
pieces. The arms have been separately cast but the joins arc hard to
|
| 3275 |
perceive. The figure is bolted to a separately cast circular bronze
|
| 3276 |
base. There is a paper label on the underside of the base inscribed
|
| 3277 |
`Brocklebank Bequcst' together with a small circular lead seal
|
| 3278 |
stamped with a pair of ampersands.
|
| 3279 |
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
|
| 3280 |
Acquired by him before 23 Septcmbcr 1910. No. 22 in Andrew
|
| 3281 |
Shirley's receipt of January 1927 as `Perseus . . .13" '.
|
| 3282 |
The Pgrfc#J was modelled in 1880 by Gilbert in Rome
|
| 3283 |
apparently soon after hc had seen Cellini's cclcbratcd bronze
|
| 3284 |
of the same hero in Florence and was cast in the spring of
|
| 3285 |
1881 also in Rome. `As at that time my whole thoughts were
|
| 3286 |
of my artistic equipment for the future, I conceived the idea
|
| 3287 |
that Perseus bcforc becoming a hero was a mere mortal, and
|
| 3288 |
that hc had to look to his equipment', Gnbcrt recalled more
|
| 3289 |
than twenty years later. This account of his motivation,
|
| 3290 |
distorted by the preoccupation with his own genius which
|
| 3291 |
obsessed him as his artistic powers began to falter, has perhaps
|
| 3292 |
been treated with too much respect. Cellini's PGrJc#J may well
|
| 3293 |
have been his inspiration but the elegant tension of the figure
|
| 3294 |
recalls certain late sixtccnth-century bronzes such as the female
|
| 3295 |
Virtue floggivg Vice on the Borghese inkstand (scc No. 224)
|
| 3296 |
then attributed to Cellini.
|
| 3297 |
Gilbert's bronze was exhibited at the Grosvenor Gallery in
|
| 3298 |
1882 (no. 380) and again at the Paris Salon in the following
|
| 3299 |
year (no. 3700) and was enormously admired. It is not known
|
| 3300 |
when the figure began to be reproduced fiill-size (as here,
|
| 3301 |
No. 498), half-size (as in this case); and in miniature (as here,
|
| 3302 |
No. 499), with minor differences in the shape of the sword
|
| 3303 |
blade and in the character of sword belt, sword hilt, helmet
|
| 3304 |
wings, and foot wings. A cast was in the J. P. Heseltine
|
| 3305 |
Collection by 1887 when it was lent to Manchester City Art
|
| 3306 |
Gallery for exhibition, but the large editions are likely to
|
| 3307 |
belong to the last years of the ninctcenth century, or the first
|
| 3308 |
of the twentieth.
|
| 3309 |
This half-sized cast was the first which Brocklcbank
|
| 3310 |
acquired, and also much the finest, of the three hc cvcntually
|
| 3311 |
owned. It is identical with the version in the Fitzwilliam
|
| 3312 |
Museum which was exhibited at the Royal Academy
|
| 3313 |
cxhi+kjition .in \986-Alf red Gilbert: Sculptor and Goldsmith,
|
| 3314 |
no. 11-s a lost-wax cast. However, that version and this,
|
| 3315 |
hike the many others of this size that I have seen, have
|
| 3316 |
separately cast ams with joins (which can only be discerned
|
| 3317 |
on close examination) and these would bc surprising in a lost-wax
|
| 3318 |
cast at that date. Casts of the other sizes arc generally
|
| 3319 |
more obviously sand-casts, although some of the fiill-size
|
| 3320 |
bronzes such as the origival cxhibitcd version, no doubt
|
| 3321 |
Heseltine's, and the one from a private collection which was
|
| 3322 |
no. 10 in the Academy exhibition, arc cxccptions. The letters
|
| 3323 |
from Gilbert to Brocklebank in the Dcpartmcnt's archive
|
| 3324 |
reveal how preoccupied the sculptor was by what he claimed
|
| 3325 |
were pirated versions of the bronze.
|
| 3326 |
On 23 September 1910 in a letter mostly concerned with
|
| 3327 |
his group of Sf Gco#gc co7¢d#cfgd ky V¢.cfory (No. 512) Gilbert
|
| 3328 |
responded with suspicion to the news that his admirer had a
|
| 3329 |
cast of the PGrtc#f.
|
| 3330 |
I must tell you that if your Pcrseus is signed in Roman capitals thus
|
| 3331 |
ALFRED GILBERT the signature is none of my doing. I have seen a
|
| 3332 |
similar figure in the Kensington Museum and I have repudiated it
|
| 3333 |
publicly in 77/c TG.ovcj. I an taking steps to trace the author of this
|
| 3334 |
forgery of my name, and I am in a fair way to bring hin to book.-
|
| 3335 |
I do not contend that the works arc not from my model, but they
|
| 3336 |
are inferior productions, and feloniously signed.
|
| 3337 |
He also exprcsscd furious indignation concerning the version
|
| 3338 |
in the South Kensington Museum in another letter of I
|
| 3339 |
December-`I never signed that figure in an ostensible way
|
| 3340 |
. . . I am repudiating this spurious, or rather pirated
|
| 3341 |
production.' The version in the `Kensington Museum' is a
|
| 3342 |
half-size cast (36.5 cms. high) which is on display in the
|
| 3343 |
English primary gallcrics (Room 118) of the Victoria and
|
| 3344 |
Albert Museum. Its accession number is 1050-1904 and the
|
| 3345 |
Museum's records reveal that it was purchased for £68 7f.1d
|
| 3346 |
in 1904-asts of Tr¢gGdy ¢79d Coowcdy and of A#
|
| 3347 |
O#G7?.»gr fo HyowG„ were acquired at the same time. `A. Gilbert'
|
| 3348 |
is chiselled in the metal across the upper surface of the base
|
| 3349 |
beside the hero's right foot. Brocklebank evidently informed
|
| 3350 |
Gilbert that his version had no signature but did have a lead
|
| 3351 |
seal. Pacified, Gilbert, in a letter of 27 September 1910,
|
| 3352 |
replied, `As to the lead seal, if it is in facsimile with either of
|
| 3353 |
these impressions you must be satisfied and so must 1', and
|
| 3354 |
hc enclosed diagrams with one of which the ampersands on
|
| 3355 |
the seal on this bronze do indeed correspond.
|
| 3356 |
Some commentary on this correspondence is rcquircd. As
|
| 3357 |
is also clear from his references in the same letters to the
|
| 3358 |
V¢.cfory (No. 502), Gilbert was understandably upset by the
|
| 3359 |
profits being made, whilst he himself was in grave financial
|
| 3360 |
difficulties, by Bond Street dealers and the bronze foundries.
|
| 3361 |
However, if he consented, howcvcr reluctantly, to large
|
| 3362 |
editions being made, as it seems likely that he did, it would
|
| 3363 |
not be surprising if some of the founders or dealers had his
|
| 3364 |
name added cspccially after his `exile' in Brussels. `Signaturcs'
|
| 3365 |
cut in the metal after casting were not usually the
|
| 3366 |
responsibility of the artist whose name was involved (which is
|
| 3367 |
why the term is misleading and avoided in this catalogue). It
|
| 3368 |
must all the same have been infuriating for artists to see their
|
| 3369 |
names used in this manner without their consent. Gilbert
|
| 3370 |
certainly was infuriated and the manner in which he jumped
|
| 3371 |
to the wrong conclusion concerning Brocklcbank's bronze
|
| 3372 |
must suggest that he was not entirely reliable in his accusations.
|
| 3373 |
The `inferior' production in the Victoria and Albert Museum
|
| 3374 |
turns out not to be an aftcrcast as one might suppose or even
|
71
|
| 3376 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3377 |
a poorly finished cast but to be ridentical in quality to the
|
| 3378 |
authorized version in Brocklebank's collection. Other casts of
|
| 3379 |
Gilbert's work will be found to have the signature that so
|
| 3380 |
maddcncd hint-A" O#c7¢.79g fo HyowG» with the Fine Art
|
| 3381 |
Society, Bond Street, in February 1987 is an example-nd
|
| 3382 |
they are not works of inferior quality.
|
| 3383 |
72
|
| 3384 |
Unknown foundry, probably British
|
| 3385 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 3386 |
@@PROCESS
|
| 3387 |
498. Perseus arming
|
| 3388 |
72.8 cms. (height including integral bronze base); 6.5 cms.
|
| 3389 |
(height of bronze base)
|
| 3390 |
Bronze with a chestnut patina, darker in the hollows. Hollow, sand-cast
|
| 3391 |
in pieces. Each leg and arm has been separately cast; the sword
|
| 3392 |
strap also fashioned separately.
|
| 3393 |
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
|
| 3394 |
No. 12 in Andrew Shirley's receipt of January 1927 as `Pcrseus . . .
|
| 3395 |
25" revolving on marble ptinth'.
|
| 3396 |
One of thrcc versions of this figure from Brocklebank's
|
| 3397 |
collection. See No. 497.
|
| 3398 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3399 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3400 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3401 |
Unknown foundry, probably British
|
| 3402 |
After Sir Alfred GILBERT ( 1854~1934)
|
| 3403 |
@@PROCESS
|
| 3404 |
499. Perseus arming
|
| 3405 |
14.5 cms. (height including integral socle); I.5 cms. (height of
|
| 3406 |
integral soclc); 5 cms. (diamctcr of base of integral socle);
|
| 3407 |
5.8 cms. (height of wooden pedestal); 7.8 cms. (diameter of base
|
| 3408 |
of wooden pedestal)
|
| 3409 |
Bronze with a warm chestnut patina. Hollow, sand-cast in pieces.
|
| 3410 |
Each arm is separately cast. The figure is fitted to a separately cast
|
| 3411 |
bronze socle and bolted to an ebonizcd wooden pedestal in the form
|
| 3412 |
of a truncated column on an octagonal plinth.
|
| 3413 |
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
|
| 3414 |
No.18 in Andrew Shirley's receipt of January 1927 as `Perseus . . .
|
| 3415 |
6" on ebonised plinth'.
|
| 3416 |
One of three versions of this figure from Brocklebank's
|
| 3417 |
collection. See No. 497.
|
| 3418 |
74
|
| 3419 |
Perhaps foundry of the Compagnic des Bronzes, Brussels
|
| 3420 |
After Sir Alfred GILBERT (1854-1934)
|
| 3421 |
@@PROCESS
|
| 3422 |
500. Icarus
|
| 3423 |
51 cms. (height including wooden base in which integral bronze
|
| 3424 |
base is sunk); 2.8 cms. (height of wooden base); 17.2 cms.
|
| 3425 |
(dianetcr of wooden base )
|
| 3426 |
Bronze with a deep chestnut patina slightly green in parts. Hollow
|
| 3427 |
cast in pieces. A join is just visible on the hero's right arm, above
|
| 3428 |
the strap, also, under magnification, on the other arm. A space under
|
| 3429 |
the hero's left foot is visible under magnification. This suggests that
|
| 3430 |
the base and arms were cast separately. A typewritten paper label
|
| 3431 |
pasted to the wooden base reads `Constantine lonidcs Collection'.
|
| 3432 |
Bequcathcd by the Revd J. W. R Brocklebank in November 1926.
|
| 3433 |
Acquired by him after I January 1911 (when not listed in a letter
|
| 3434 |
bythesculptortoBrocklebankconccmingtheworksofhiswhich
|
| 3435 |
were in the latter's possession) and probably after 1913 (since it is
|
| 3436 |
unmentioned in the letters of 1911,1912, and 1913 by Gilbert to
|
| 3437 |
Brocklebank). Apparently acquired by Brocklebank from the
|
| 3438 |
collection of Constantinc lonides ( see label described above) whose
|
| 3439 |
collection was formed in ljondon in the 1880s and 1890s. No. 29
|
| 3440 |
3eggeresTans±:I:y:trhec;:tgos;:eTd:,T8;,9£7£s,.Astatuettcst
|
| 3441 |
I"% was commissioned in Perugia in the summer of 1882
|
| 3442 |
for £100 after the success of the PGzfG%J (Nos. 497-9) by
|
| 3443 |
Gilber['s keen admirer, the President of the Royal Academy,
|
| 3444 |
Ijord Leighton, who was then involved in making sculpture
|
| 3445 |
of his own (Nos. 532-3). The subject was left to the artist
|
| 3446 |
who thought first of Leighton's `penchant for classical
|
| 3447 |
subjects; it must bc something classical and appropriate for
|
| 3448 |
bronze . . . It flashed across me', Gilbert rccallcd, `that I was
|
| 3449 |
very ambitious: why not "Icarus" with his desire for flight'
|
| 3450 |
(I. MCAllister, A//#Gd G;/de# (Ijondon, 1929), 62). The
|
| 3451 |
origival bronze, modelled in Italy in 1883 and 1884 and
|
| 3452 |
incised `Rome 1884', is 106.7 cms. in height (the National
|
| 3453 |
Museum of wales, Cardiff) and was exhibited at the Royal
|
| 3454 |
Academy in 1884 (as no. 1855) to great acclaim. No figure
|
| 3455 |
made by a British sculptor before Gilbcrt's PG7fG%f possessed
|
| 3456 |
a comparable fomal or psycholoScal fascination: its sinuous
|
| 3457 |
line and tense grace are suggestive of complex thoughts and
|
| 3458 |
feelings in precarious balance. And the surface of the origival
|
| 3459 |
bronzcpossessesanervousvitalityunprecedentedinanywork
|
| 3460 |
cast in this country.
|
| 3461 |
The origival Jc¢owf was cast under Gilbert's own direction
|
| 3462 |
at the foundy of Sabatino de Angclis in Naples. It is unique
|
| 3463 |
and there is some reason to suppose that it was cast by the
|
| 3464 |
`direct mcthod' (the wax modelled over a prepared core)
|
| 3465 |
rather than by the usual indirect method of making the wax
|
| 3466 |
model from a mould of the oriSnal clay (or more hkcly from
|
| 3467 |
a mould of a plaster cast made from a mould of the origival
|
| 3468 |
clay)-see Duncan James, `Alfred Gilbert and the Use of
|
| 3469 |
Nineteenth-Century Founding Techniques' , in R. Dorment, -irlf red Gilliert: Sc;lptor ?nd qo.Idspeith (:Poryal r±_&_d=T!.:.
|
| 3470 |
Ijondon,1986), 234. Certainly the casting of the Jc¢y%f was
|
| 3471 |
regardedasquitcdistinctfromthatofGilbert'searlicrPGrfG%J.
|
| 3472 |
(The P„„ap however, contrary to the assumptions made in
|
| 3473 |
all recent literature, may never have been cast by the lost-wax
|
| 3474 |
process, even by the indirect method-see No. 497. )
|
| 3475 |
The de Angelis foundry, which specialized in high quality
|
| 3476 |
reproductions of the antiquities in the Archaeoloalcal
|
| 3477 |
Museum, Naples (scc No. 5), seems, together with the
|
| 3478 |
foundry established by Vincenzo Gemito (discussed below),
|
| 3479 |
to have made Naples in the carly l880s one of the three chief
|
| 3480 |
European ccntrcs for casting by the lost-wax method, the
|
| 3481 |
other acclaimed foundries for this process being those of the
|
| 3482 |
Gonon finily in Paris (for which see No. 251 ) and of the
|
| 3483 |
Compagnic dcs Bronzes in Brussels. Publicity for the latter
|
| 3484 |
foundry had been provided, shortly before Jc¢rar was
|
| 3485 |
exhibited, by Gilbert's employer, teacher, and admirer Edgar
|
| 3486 |
Bochm, whose statuette of the famous race-horse Crceeo7'i7?c
|
| 3487 |
was exhibited at the Grosvenor Gallery in 1883 with a special
|
| 3488 |
note that it `has been cast at Brussels in the ancient "cire
|
| 3489 |
pcrduc" process, and is cast in one piece' (M. Stocker, Ray#/¢.¢
|
| 3490 |
and Realist: The Life and Word Of Sir Jose2h Edgar Bochm
|
| 3491 |
(New York and I.ondon, 1988), 307-8 and nos. 3334).
|
| 3492 |
CrGaco7'7cc had been commissioned by Sir John Savilc Lumley
|
| 3493 |
(later I.ord Savile), the British consul in Belgum, whose
|
| 3494 |
interest in lost-wax casting prompted him to compile a report
|
| 3495 |
on the process for the Board of Trade (a copy, from the
|
| 3496 |
collection of C. D. E. Fortnum, is in the Ashmolean Library)
|
| 3497 |
which was published in modified form in the 47:c4¢.£#£, 31
|
| 3498 |
(1884),130-I and 140-1,
|
| 3499 |
During the late l880s and early l890s, the practice of lost-wax
|
| 3500 |
casting became far more common both in England and
|
| 3501 |
France. In England in 1888 J. W. Singer and Son built a new
|
| 3502 |
foundry at Fromc under Herbert Singer's direction which
|
| 3503 |
was suited to this method. It was introduced at the Thames
|
| 3504 |
Ditton foundry of Cox and Sons under the direction of James
|
| 3505 |
Moore shortly after 1890 (S. Beattie, T77c Ncil7 Sc„/Pf#rt7
|
| 3506 |
(I.ondon and New Haven, Conn.,1983),188 and 191). A
|
| 3507 |
Roman, Alessandro Parlanti, established a foundry in Parson's
|
| 3508 |
Grccn, Fulham, in the same years and Gilbert was closely
|
| 3509 |
associated with him although he also gave work to the
|
| 3510 |
Compagrie des Bronzes which was certainly his principal
|
| 3511 |
foundry after 1900. Either of these two latter foundries could
|
| 3512 |
have been responsible for the small edition of reductions of
|
| 3513 |
the origival Jc¢7.#f of which the Ashmolean's bronze is an
|
| 3514 |
example, but it is not likely that thcsc were lost-wax casts.
|
| 3515 |
On close investigation they are seen to have been composed
|
| 3516 |
of separately cast units which suggests the sand-cast process
|
| 3517 |
in which the Compagnie des Bronzes also excelled.
|
| 3518 |
According to the rccollcctions of w. Goscombc John not
|
| 3519 |
more than a dozen casts of the Jc¢7.#f in this size were made
|
| 3520 |
before the moulds were broken and Dormcnt (Royal Academy
|
| 3521 |
catalogue cited above, pp.Ilo-12) observes that it seems
|
| 3522 |
likely that they were all made before 1900. Two other casts
|
| 3523 |
from this edition are known, both of which wcrc included in
|
| 3524 |
the Royal Academy exhibition of 1986: a silvered version
|
| 3525 |
belongivg to the Fine Art Society and a version, identical in
|
| 3526 |
patina to the Ashmolcan's, belonSng to the Tate Gallery. The
|
| 3527 |
latter is incised in the back of the base with the artist's initials
|
| 3528 |
Within a circle and, unlike the Ashmolean and Fine Art Society
|
| 3529 |
casts, the forked tongue of the serpent attacking the bird on
|
| 3530 |
the base has not been broken off.
|
| 3531 |
The character of the naturalistic base with the bird and
|
| 3532 |
snake in the origival bronze is far more complex than in the
|
| 3533 |
reductions. It must represent, as has often been observed, a
|
| 3534 |
response to the French `animalicr' bronzes in the manner of
|
| 3535 |
Barye, but, more specifically, it is surely an exercise in the
|
| 3536 |
subject-matter with which Gonon had demonstrated his
|
| 3537 |
virtuosity in lost-wax casting (see No. 251 ): the textures of
|
| 3538 |
snake-skin and feathers and the fraSlity of serpent tongues
|
| 3539 |
and bird's legs represented an obvious challenge. Gilbert was
|
| 3540 |
intensely interested in ¢„¢.owe/¢.cr sculpture when in Paris in
|
| 3541 |
1878. Hc made many studies at the zoo all of which wcrc
|
| 3542 |
destroyed (MCAllister, op. cit., 49). If Gonon was important
|
| 3543 |
for Gilbert, so too, as seems not to have been previously
|
| 3544 |
pointed out, was Vincenzo Gemito by whose work no artist
|
| 3545 |
visiting Naples in the early l880s, least of all a sculptor
|
| 3546 |
especially interested in bronze casting, could fan to bc
|
| 3547 |
attracted. Gemito's own foundry, projected by the Belgian
|
| 3548 |
entrepreneur Baron Oscar de Mesnil in 1875, commenced
|
| 3549 |
production in 1883, the year in which Gilbert first had his
|
| 3550 |
bronzes cast in Naples. Contemporary with the Jc¢7'i¢¢J arc
|
| 3551 |
two heads made by Gilbert as experiments in lost-wax casting:
|
| 3552 |
the HG¢d a/¢gG.71/ (National Museum of wales, Cardiff),
|
| 3553 |
modelled in 1882, cast in 1883 and exhibited in that year at
|
| 3554 |
the Royal Academy (no. 1600, `Study of a Head'), and the
|
| 3555 |
He¢d a/a C¢Pr¢./f47cr7ce¢7?, modelled 1883 and exhibited in
|
| 3556 |
1884 with Jc¢r#f at the Royal Academy (no. 1699, `Study'),
|
| 3557 |
of which a later casting is in the National Gallery of victoria,
|
| 3558 |
Mclboumc (Royal Academy exhibition cited above, nos. 12
|
| 3559 |
and 14, pp.108-9). The second of these heads is very close
|
| 3560 |
to the bust of an old man made by Gcmito in the same
|
| 3561 |
period: in both every minute wrinkle of the skin is perfectly
|
| 3562 |
recorded (a cast of this bust was formerly on loan to the
|
| 3563 |
Cleveland Museum of Art,1174.78, and another was
|
| 3564 |
exhibited with the David Daniels Collection, Minneapolis
|
| 3565 |
Institute of Art, 1979-80). The subtle textures and colouring
|
| 3566 |
(especially the traces of gold in the hair) in Gilbert's Head a/
|
| 3567 |
¢g¢.71/ recall such outstanding works by Gcmito as his
|
| 3568 |
P¢¢./ofoj)der'f ¢c¢d of 1883 ( Cleveland Museum of Art, 79.42)
|
| 3569 |
and the beautiful but plebeian character of the model (the
|
| 3570 |
`Srl' was the Roman nurse of Gilbert's child) is reminiscent
|
| 3571 |
of Gemito's use of urchins in his earliest and most famous
|
| 3572 |
works.
|
75
|
| 3574 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3575 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3576 |
Perhaps foundry of Compagnie des Bronzes, Brussels
|
| 3577 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 3578 |
@@PROCESS
|
| 3579 |
501. An Offering to Hymen
|
| 3580 |
29.55 cms. (height of bronze including base); I.45 cms. (height
|
| 3581 |
of lapis plinth); 7 cms. (diameter of lapis plinth)
|
| 3582 |
Bronze with a dark slightly green brown patina, worn, where handled
|
| 3583 |
around thighs and also at tip of nose, to a chestnut natural patina.
|
| 3584 |
The hapy base is of slightly darker brown patina. Hollow, probably
|
| 3585 |
lost-wax, cast. The small figure of Anteros, together with the sprig
|
| 3586 |
of rosemary, have been fashioned separately and soldered in place,
|
| 3587 |
The hapy base was probably cast separately. Figure and base arc
|
| 3588 |
bolted to a plinth of lapis lazuli.
|
| 3589 |
Bequeathed by the Rcvd J. W. R Brocklebank in November 1926.
|
| 3590 |
Acquired before 28 June 1910. No. 21 in Andrew Shirley's receipt
|
| 3591 |
of January 1927 as `A statuette, Nude Female standing holding an
|
| 3592 |
effigy of an Angel' .
|
| 3593 |
Gilbert exhibited a large bronze version of this subject at the
|
| 3594 |
Grosvcnor Gallery in 1886, having modelled the figure,
|
| 3595 |
perhaps in the previous year, apparently emplo)ing Miss
|
| 3596 |
Pcttigrcw as his model. He might have had the idea a few
|
| 3597 |
years earlier in Rome; in any case, he seems to have `conccived
|
| 3598 |
of it as the third statue in the progression from Perscus to
|
| 3599 |
Icanis of adolcsccnts facing the passage from youth to
|
| 3600 |
maturity', as RIchard Dorment observes in his catalogue entry
|
| 3601 |
for the recently rediscovered bronze of 1886 in A//„cd G¢./de7¢..
|
| 3602 |
Sc#/pfoy ¢„d Go/drow¢.£¢ (Royal Academy, London, 1986)
|
| 3603 |
(no.18, pp.112~14). On the other hand, the stiff pose, the
|
| 3604 |
attributes, and the base reflect a reaction away from his earlier
|
| 3605 |
cxcrciscs in complex torsion, a deeper interest in the hicratic
|
| 3606 |
and symbolic (as distinct from allegorical narrative), and a
|
| 3607 |
novel fascination with grotesque `cinqueccnto' ornament,
|
| 3608 |
soon to develop into an obsession. It is not known when
|
| 3609 |
small casts such as that in the Ashmolean were first made but
|
| 3610 |
it was probably during the first decade of the twentieth century.
|
| 3611 |
In these small versions the figure (which is conceived of as
|
| 3612 |
standing before the altar of the god of marriage) is given a
|
| 3613 |
variety of votive offerings sometimes in silver, sometimes in
|
| 3614 |
copper. These include a chalice, a rose, a putto with an inverted
|
| 3615 |
torch, a sprig of rosemary (as here), and a figure of Antcros
|
| 3616 |
(as here). The A7¢fg7iof is a reduction of a figure, derived from
|
| 3617 |
the Jc¢7#f (see No. 500), which Gilbert made in 1893. The
|
| 3618 |
small O#G"."g fo H)iowe" in the City Art Gallery, Manchester
|
| 3619 |
(no. 19 in the Royal Academy exhibition) is documented as
|
| 3620 |
bought from Messrs Brown and Phillips in 1912. The version
|
| 3621 |
in the Victoria and Albert (79-1904) was acquired in 1904.
|
| 3622 |
The Ashmolean's version was acquired before 28 June 1910.
|
| 3623 |
Gilbert, writing to Brocklcbank from Faulconer's Hotel,
|
| 3624 |
I.ondon, on that date in a letter mostly about a S£ Gco%ge
|
| 3625 |
(see No. 506), commented, `1 an sorry you have bought the
|
| 3626 |
sman "Offering to Hymen", for I fear you have paid an
|
| 3627 |
excessive price for it while I might have found you an example
|
| 3628 |
taken direct from my origival model, and chased by myself,
|
| 3629 |
at a modcratc price'. This would suggest that it was a recent
|
| 3630 |
Purchase by Brocklebank, also that quite a few casts were
|
| 3631 |
then available on the art market. It might be taken-indccd
|
| 3632 |
was meant to be taken-as an allegation that some of these
|
| 3633 |
were of inferior quality, and that Gilbert had a few specially
|
| 3634 |
finished examples, but it was in the sculptor's interests to sell
|
| 3635 |
direct to Brocklebank and he was also prey to anxieties
|
| 3636 |
concerning the sale of his bronzes in `Bond Strect' (scc No.
|
| 3637 |
@@PROCESS
|
| 3638 |
497) which may not have been based on a just perception of
|
| 3639 |
lower standards but motivated by rescntmcnt at the profits in
|
which he had no share.
|
| 3641 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3642 |
Perhaps foundry of Compagnie des Bronzcs, Brussels
|
| 3643 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 3644 |
5o2. Victory
|
| 3645 |
48.5 cms. (height including entire base and uppermost frond of
|
| 3646 |
palm); 21.5 cms. (height of figure from big toe to crown of
|
| 3647 |
head); 10.2 cms. (height of base); 12.9cms. (diameter of base)
|
| 3648 |
Bronze with a slightly green-black patina worn to chestnut in some
|
| 3649 |
salient folds of drapery. Hollow, probably lost-wax, cast. The raised
|
| 3650 |
right am and most of the trumpet are both cast separately (the joins
|
| 3651 |
are hardly visible) and the palm (of copper?) is fashioned separately.
|
| 3652 |
There is a small hole in the drapery between the feet. The figure is
|
| 3653 |
mounted on a ball of dark brown and white (? AIgcrian) onyx and
|
| 3654 |
a base of ebohized wood consisting of a turned and waisted soclc
|
| 3655 |
on an octagonal plinth.
|
| 3656 |
Bequeathed by the Rcvd J. W. R Brocklebank in November 1926.
|
| 3657 |
Bought by him before 22 July 1910 `in Bond St.'. No. 28 in Andrew
|
| 3658 |
Shirley's receipt of January 1927 as `Victory'.
|
| 3659 |
Gilbert's great Jubilee monument to Queen Victoria,
|
| 3660 |
presented to the City of winchester by William Ingham
|
| 3661 |
Bywater, High Sheriff of Hampshirc, was exhibited as a
|
| 3662 |
bronzed plaster at Winchester on 17 August 1887 and then
|
| 3663 |
shown again at the Royal Academy Exhibition in 1888. The
|
| 3664 |
figure of victory crowning the orb was perhaps the most
|
| 3665 |
notable of the many inventive accessories and details with
|
| 3666 |
which the figure and throne bristlcd. The Victory on the
|
| 3667 |
origival bronze was wrenched from the queen's grasp by a
|
| 3668 |
vandal and has not been replaced, but Gilbert had others cast
|
| 3669 |
as independent works of art, exhibiting a statuette in silver at
|
| 3670 |
the Royal Academy exhibition in 1891 (no. 2069). It is not
|
| 3671 |
certain when the bronze statuettes were first edited, but
|
| 3672 |
perhaps not until more than a decade after this. The version
|
| 3673 |
in the Victoria and Albert Museum ( 1050-1905), which is
|
| 3674 |
identical with the Ashmolean's, was acquired in 1905. In
|
| 3675 |
1903 Gnbcrt was to)ing with the idea of making a large
|
| 3676 |
version of the figure to serve as a Boer War memorial. In
|
| 3677 |
reading Gflbert's correspondence with Brocklcbank on this
|
| 3678 |
subject it is important to bear in mind that Brocklebank
|
| 3679 |
eventually owned two versions of the statuette, the other
|
| 3680 |
version being smaller and Slded. The Ashmolean's bronze
|
| 3681 |
was exhibited at the Royal Academy exhibition 4//#G¢ G£./4G7¢..
|
| 3682 |
Sc#/p}or a"d Go/drow¢.£¢ ( 1986) as no. 34 with the incorrect
|
| 3683 |
infomation that it was purchased from the artist in 1911 and
|
| 3684 |
can therefore be dated to 1910. It seems in fact to have been
|
| 3685 |
purchased in 1910.
|
| 3686 |
On 20 January 1910 Gilbert informed Brocklebank that he
|
| 3687 |
was able to let him have a VG.cfo7)+`not the small one you
|
| 3688 |
saw here but the origival size'. In his next letter of 30 January
|
| 3689 |
hc wrote,
|
| 3690 |
I an grateful to you for your attitude towards the pirated copies of
|
| 3691 |
my work. I hope when you see the example of the original size
|
| 3692 |
which I hope to send ere long together with the St. George that
|
| 3693 |
you will not regret your decision-meanwhile you will be doing me
|
| 3694 |
a great favour if you will let it be well and generally known that these
|
| 3695 |
Bond Street reproductions arc none other than pirated copies of
|
| 3696 |
my work.
|
| 3697 |
78
|
| 3698 |
The next reference to a V¢.cfory comes in a letter of 28 June
|
| 3699 |
1910: `1 have also a small "Victory" equally well produced,
|
| 3700 |
which I will send with the other figure, of course-nly for
|
| 3701 |
your approval. ' Meanwhile, however, Brocklebank had
|
| 3702 |
acquired a VG.cfory elsewhcrc. On 22 July Gilbert wrote: `In
|
| 3703 |
your last letter I understood you to say that you had already
|
| 3704 |
bought a small "Victory" in Bond Street so I put aside the
|
| 3705 |
one I intended for you, as no longer required.' On 28 July
|
| 3706 |
he pressed Brocklcbank for an explanation: `With regard to
|
| 3707 |
my mention of a Victory in my letter. I am awaiting your
|
| 3708 |
reply so that I may well understand your allusion to the said
|
| 3709 |
"Victory", after what I understood you to say as to your
|
| 3710 |
purchase of an example in Bond Street.' On 22 September hc
|
| 3711 |
wrote, `1 cannot say that I am much amused, though
|
| 3712 |
particularly interested, at the news you give me, that you have
|
| 3713 |
received a copy of my small Victory. I am rather saddened,
|
| 3714 |
at the thought, that while I am struggling to live by my work,
|
| 3715 |
others should be living upon the fruits of my labour.'
|
| 3716 |
However, Brocklebank seems to have disarmed Gilbert with
|
| 3717 |
praise for the work and a rcqucst for advice over cleaning
|
| 3718 |
and polishing it, and Gilbert rcphed on 27 September 1910,
|
| 3719 |
As to the little Victory (like all triumphs) it only wants nursing and
|
| 3720 |
caressing with a silk handkerchief, or something soft, from time to
|
| 3721 |
time. A little bees wax-in place of butter or oilngcntly rubbed on
|
| 3722 |
will keep the colour for a very long time, and the Victory will shine
|
| 3723 |
on all its contours, as though clad in light.
|
| 3724 |
On New Year's Day 1911 Gilbert responded to a letter
|
| 3725 |
expressing gcncral thanks and gratitude,
|
| 3726 |
You say that of the four statuettes you have of mine the one most
|
| 3727 |
admired is `Victory'. You are not aware possibly that [its?] apparent
|
| 3728 |
joyousness, is due to the fact that it was conceived and executed
|
| 3729 |
during the very few hours of happiness, I have known, in a now,
|
| 3730 |
almost long, and eventful life. Even the original, brought mc sorrow.
|
| 3731 |
I am afroid that my whole being has leant to be philosophical rather
|
| 3732 |
than sanguine, as it was once. I lived then to work, now I work to
|
| 3733 |
live for a pittance.
|
| 3734 |
It is unlikely that the little V¢.cfory acquired in Bond Street
|
| 3735 |
is to be identified as the gilded version now lost (No. 503):
|
| 3736 |
above au, the application of wax would bc more appropriate
|
| 3737 |
for an unSlded patina. It is odd that Gilbert docs not refer
|
| 3738 |
to two versions in his letter of 1911. It seems likely au the
|
| 3739 |
same that the Slded version was acquired at the same time
|
| 3740 |
and Gilbert's letters imply that the model was available in two
|
| 3741 |
sizes.
|
| 3742 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3743 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3744 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3745 |
80
|
| 3746 |
Unknown foundry
|
| 3747 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 3748 |
@@PROCESS
|
| 3749 |
503. Victory (untraced)
|
| 3750 |
Said to have been 9" high.
|
| 3751 |
Metal, probably bronze, `heavily-dlt'.
|
| 3752 |
BequeathedbytheRevdJ.W.RBrocklebankinNovembcr1926.
|
| 3753 |
Probably acquired by him in 1910 or 1911. No.19 on Andrew
|
| 3754 |
Shirley's receipt of 1927 as `A statuette (gilt) Victory standing on a
|
| 3755 |
sphere,.
|
| 3756 |
ThiswaspresunablyaversionofthcVjcforyalsorepresented
|
| 3757 |
in Brocklebank's collection in unorded form. For the
|
| 3758 |
probable purchase of this bronze from Gilbert in 1910 or
|
| 3759 |
1911 see No. 511. The date when it was lost is unknown,
|
| 3760 |
but it may be safely asserted that it would have been most
|
| 3761 |
unlikely to have gone astray under the scrupulous
|
| 3762 |
housekeeping of C. F. Ben (Keeper 1908-31). A handwritten
|
| 3763 |
note by Ion ljowe in one of the bronze stores dated 29
|
| 3764 |
Januay 1968 records that the heavily gilt variant of Vjc}ory
|
| 3765 |
was not `seen'-i.e. was not found-when Charles Handlcy
|
| 3766 |
Read `carne to see the bronzes'.
|
| 3767 |
Probably foundry of Compagnie des Bronzes, Brussels
|
| 3768 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 3769 |
@@PROCESS
|
| 3770 |
504. Literature (Wisdom)
|
| 3771 |
22.7 cms. (height of figure); 3.25 cms. (height of bronze base);
|
| 3772 |
10.5 cms. (dia.meter of base)
|
| 3773 |
Bronze with a very dark green and grey patina won on some edges
|
| 3774 |
of drapery to the yellow metal. Hollow, probably lost-wax, cast in
|
| 3775 |
pieces. The scroll with the hands was cast separately, as was the base.
|
| 3776 |
Some white plaster remains under the upper fold of the scroll.
|
| 3777 |
Inscribed on a paper label under the base in the sculptor's hand are
|
| 3778 |
the words: `REPLICA OF STAT ON THRONE OF / Q. VICTORIA
|
| 3779 |
MEMORIAL AT WINCHESTER / A GILBERT' .
|
| 3780 |
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
|
| 3781 |
Probably acquired by him after 1912. No. 20 in Andrew Shirley's
|
| 3782 |
rcccipt of January 1927 as `a statuette, Literature, holding a scroll
|
| 3783 |
offame'.
|
| 3784 |
The figure is one of the Virtues modelled in 1887 and
|
| 3785 |
exhibited in Winchcster on 17 August that year as a pan of
|
| 3786 |
the throne of the Jubilee memorial for Queen Victoria (see
|
| 3787 |
also no. 502). It is placed on the rear of the throne at top
|
| 3788 |
left (see the illustration in M. H. Spielmann, Br¢.f¢.j4 Sc#/Pf#re
|
| 3789 |
fli»d Sc#/pforf a/ rodry ( I.ondon, 1901 ), 82). Having made all
|
| 3790 |
his earliest figure sculpture (PcrJc#J, Jc¢7':#f, and A» O#Gr¢.cog
|
| 3791 |
fo HyowG") nude Gilbert became fascinated by heavy drapery
|
| 3792 |
and by armour in the later l880s. This figure was anticipated
|
| 3793 |
by the similarly waxy and voluminous drapery and scroll of the
|
| 3794 |
personification of Zeal in the memorial to Henry Fawcctt of
|
| 3795 |
1885-7 crcctcd in Westminster Abbey where his first armour-clad
|
| 3796 |
figure, Fortitude, also features.
|
| 3797 |
L¢.£G7¢f#rc was cast as a separate statuette by the Compagnie
|
| 3798 |
des Bronzes, Brussels, in 1910, but some casts seem to have
|
| 3799 |
been available earlier and some of these might even have been
|
| 3800 |
cast at the same time as the original. Richard Dorment quotes
|
| 3801 |
an entry in the diary of George Gilbert on 23 June 1906
|
| 3802 |
concerning a cast with the dealer Horace Littlcjohn of the
|
| 3803 |
John Baillie Gallery, 54 Baker Strcct, Ijondon (see 4//rgd
|
| 3804 |
Gilbert: Sculptor and Goldsmith (Ftoryal Alcaideny , hondon,
|
| 3805 |
1986), no. 35, p.130). The casts are rare and no other
|
| 3806 |
versions are known to me (excepting that on the throne
|
| 3807 |
itself). There is no reference to L¢.£Gr#£„rg in Gflbcrt's letters
|
| 3808 |
to Brocklebank during the period 1910-12 and it is likely to
|
| 3809 |
have been acquired after the latter year.
|
81
|
| 3811 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3812 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3813 |
Perhaps foundry of Compagnie des Bronzes, Brussels
|
| 3814 |
After Sir Alfrcd GILBERT ( 1854-1934)
|
| 3815 |
@@PROCESS
|
| 3816 |
505. Comedy and Tragedy
|
| 3817 |
(`Sic vitae')
|
| 3818 |
66.6 cms. (height of bronze); 6.3 cms. (height of base); 15 cms.
|
| 3819 |
(diameter of base )
|
| 3820 |
Bronze with a dark green and brown patina, worn to golden brown
|
| 3821 |
in salient areas of hair and hat. Hollow, probably sand-cast, in
|
| 3822 |
pieces. Both arms and the mask were apparently cast together as one
|
| 3823 |
separate piece, the joins in both biceps being evident; the figure's
|
| 3824 |
right leg is also separately cast but almost invisibly joined. The figure
|
| 3825 |
is bolted to its orictnal spinachy serpentine base consisting of a
|
| 3826 |
turned, waistcd, soclc set on an octagonal plinth also of serpentine.
|
| 3827 |
This base is cracked but was mended August 1988 when the
|
| 3828 |
sculpture was also mounted on a spiral column of pc7itzc dG. P#¢£o,
|
| 3829 |
presumably Italian and of c.1880.
|
| 3830 |
Bequeathed by the Revd J. W. R. Brocklcbank in November 1926.
|
| 3831 |
No. 8 in Andrew Shirley's receipt of January 1927: `A statuette
|
| 3832 |
male figure symbolising Tragedy'. Ijong kept in Museum store;
|
| 3833 |
placed on display in the redecorated Combe Gallery in August 1988.
|
| 3834 |
The figure depicts the prop boy in the classical theatre stung
|
| 3835 |
by a bee as he hastens to the stage with a comic mask. The
|
| 3836 |
title comes from W. S. Gilbcrt's popular one-act play. The
|
| 3837 |
model was Angelo Colorossi (who is also immortalized in
|
| 3838 |
Gilbcrt's EroJ). A letter cited by Richard Dormcnt in the
|
| 3839 |
catalogue of the Royal Academy exhibition A//7.cd G¢./der£..
|
| 3840 |
Sculptor and Goldsmith Of \986 (no. 22, p. \\7) reveals that
|
| 3841 |
-rf u*` -.._-i
|
| 3842 |
i-==--.-.
|
| 3843 |
work on the figure began on 2 February 1891. It was exhibited
|
| 3844 |
as a polychromed plaster at the Royal Academy in 1892 (as
|
| 3845 |
no. 2004), and, probably soon afterwards, was cast in bronze.
|
| 3846 |
The oridnal size (presumably corresponding with the
|
| 3847 |
exhibited plaster) is that of the version in the Ashmolean, of
|
| 3848 |
which many examples exist (among them examples in the
|
| 3849 |
following public couections: National Gallery of scotland,
|
| 3850 |
no. 2287-xhibited in the exhibition cited above; Leeds City
|
| 3851 |
Art Gallery; Nottingham City Art Gallery). Still more
|
| 3852 |
common arc half-size versions many of which include the bee
|
| 3853 |
(or included it-a hole often remains). These were made by
|
| 3854 |
the Compagnie des Bronzes in Brussels in the first decade of
|
| 3855 |
the twentieth century-at least that in the National Gallery
|
| 3856 |
of Art in Washington ( 1984.67. I ) is documcntcd as made
|
| 3857 |
there in 1905. The Victoria and Albcrt Museum acquired its
|
| 3858 |
small bronze of this size in 1904 (78-1904). Comparison of
|
| 3859 |
these two however immediately reveals a problem for the
|
| 3860 |
Washington bronze is a lost-wax cast, apparently in one piece,
|
| 3861 |
with a vibrant surface, whereas the latter, and all others that
|
| 3862 |
I have examined with dealers and auctioneers (among these
|
| 3863 |
those sold Sotheby's, I.ondon, 23 June 1987, lot 83, and
|
| 3864 |
Sotheby's, I.ondon, 26 November 1986, lot 59), are made
|
| 3865 |
up of pieces, like the larger version catalogued here, and are
|
| 3866 |
sand-casts. The Washington cast also has a different form of
|
| 3867 |
small round integral bronze base, being higher and consisting
|
| 3868 |
of a shallow dome on spreading mouldings.
|
83
|
| 3870 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3871 |
Foundry of the Compagnie des Bronzes, Brussels
|
| 3872 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 3873 |
@@PROCESS
|
| 3874 |
506. St George
|
| 3875 |
47.5 cms. (height); 26 cms. (width of base)
|
| 3876 |
Bronze with a dull black patina worn to chestnut in some salient
|
| 3877 |
parts. Hollow, sand-cast, in sixteen pieces: helmet, head, shoulder
|
| 3878 |
greaves (2), arms (2), hands (2), torso, legs (2), thigh protectors
|
| 3879 |
(2), knee protectors (2), base. The shoulder armour to the figure's
|
| 3880 |
right is loose.
|
| 3881 |
Bequeathed by the Revd J. W. R. Brocklcbank in 1927. No. 14 in
|
| 3882 |
Andrew Shirley's receipt of January 1927: `St. George, standing
|
| 3883 |
holding sword with crucifix'. Purchased by Brocklebank from Gilbert
|
| 3884 |
in 1910 (see below).
|
| 3885 |
The figure was invented by Gilbert as one of the saints for
|
| 3886 |
the niches of the grille for the tomb-chest supporting the
|
| 3887 |
effigy of the duke of clarence in the chapel of windsor Castle.
|
| 3888 |
The duke, who was the first son of the prince of wales, died
|
| 3889 |
on 14 January 1892; the commission was given to Gilbert at
|
| 3890 |
Sandringham by the prince on 23-5 January and the first
|
| 3891 |
model approved by him in Ijondon before the end of the
|
| 3892 |
month. The larger model which was completed for the Royal
|
| 3893 |
Academy exhibition in 1894 was far more elaborate and
|
| 3894 |
included the grille which Gilbert seems to have scttlcd on
|
| 3895 |
early in 1893. Work on the tomb contributed to Gilbcrt's
|
| 3896 |
banluniptcy; his expedients to avoid this, together with his
|
| 3897 |
procrastination and obsessive elaboration on the tomb, led to
|
| 3898 |
a break with his royal patron and he did not return from exile
|
| 3899 |
in Brugcs to complete the work until bidden to do so by
|
| 3900 |
George V in 1926-the final figures wcrc in place in 1928.
|
| 3901 |
The first figure of Sf Gco#gc was cast by George Broad and
|
| 3902 |
Son in `white metal': the hands and head were of ivory, as
|
| 3903 |
was also the case with the effigy of the prince himself. The Sf
|
| 3904 |
GGo7igc was dclivercd to the prince and princess of wales at
|
| 3905 |
Sandringham on 10 November 1895 as a private domestic
|
| 3906 |
memorial to their son (it is now in St Mary Magdalene,
|
| 3907 |
Sandringham). This reveals that Gilbert, from the first,
|
| 3908 |
considered the figure acceptable as an independent sculpture,
|
| 3909 |
although the wide spreading base, in which the scaly skin and
|
| 3910 |
coils and claws of the dragon are involved, was devised for
|
| 3911 |
the special setting of the grille where the wings and draperies
|
| 3912 |
of attendant angels below and the crowning framework above
|
| 3913 |
continue its swirling foms. (The very earliest idea for the Sf
|
| 3914 |
Geokge, rcpresentcd by a drawing in body colours and gold
|
| 3915 |
leaf, does not have such a base.) The version for the tomb
|
| 3916 |
grille itself, also with ivory hands and head, the rest cast in
|
| 3917 |
aluminium, was set in place in Windsor in March 1898 (R.
|
| 3918 |
Dorrne". Alf red Gilbert: Sculpror and Goldsmith (Riayal
|
| 3919 |
Academy, Ijondon, 1986),154nd2).
|
| 3920 |
An interest in fancifully armoured figures, as also in
|
| 3921 |
voluminous draped figures, and in figures concealed by, and
|
| 3922 |
confused with, vegetation, which replaced Gilbert's early use
|
| 3923 |
of the nude, may all be traced to his work on the Fawcett
|
| 3924 |
memorial in Wcstminstcr Abbey, commissioned in April 1885
|
| 3925 |
and unveiled in January 1887 (ibid.124-5). The figure of a
|
| 3926 |
84
|
| 3927 |
knight representing Fortitude there was followed by the St.
|
| 3928 |
George on the Jubilcc Epergne, commissioned in 1887,
|
| 3929 |
completed in 1890, and by the knight in armour on the de
|
| 3930 |
Vesci seal, commissioned January 1891 and completed 1896
|
| 3931 |
(ibid., nos. 53 and 59, pp.144-5, 148-9). Whereas Ghbert
|
| 3932 |
had been fascinated by lost-wax casting he seems also to have
|
| 3933 |
been interested in the way that sand-casts of numerous picccs
|
| 3934 |
might be considered especiauy appropriate for a
|
| 3935 |
representation of a suit of armour which after all was itself a
|
| 3936 |
composite and jointed metal creation. The cast set up at
|
| 3937 |
Windsor in 1898 was probably made by the Compagrie des
|
| 3938 |
Bronzcs in Brussels. They were certainly responsible for two
|
| 3939 |
casts, with metal, rather than ivory, heads and hands, which
|
| 3940 |
Gilbert had made less than twelve months afterwards-nc
|
| 3941 |
of these (of aluminium, today in the Cecfl Higgivs Art Gallery,
|
| 3942 |
Bedford) was sent to Sir William Agnew on 8 February 1899,
|
| 3943 |
the other (of bronze, today in a private collection) was ready
|
| 3944 |
soon afterwards and sold to Robert Dunthome (ibid. 163-
|
| 3945 |
4, mos. 71, 72). The casting patterns used by the foundry to
|
| 3946 |
fom the sand moulds survive (ibid. 161, no. 68). How many
|
| 3947 |
subsequent versions in bronze were made is not certain but
|
| 3948 |
at least four seem to be recorded.
|
| 3949 |
Brocklebank called on Gilbert in Bruges on 9 December
|
| 3950 |
1909 but the sculptor was ill and unable to scc him.
|
| 3951 |
Brocklebank (together with his brother and sister-in-law who
|
| 3952 |
wcrc with hin) invited Gilbert to supper on 11 December
|
| 3953 |
and then again on 2 January 1910. In a letter to Brocklebank
|
| 3954 |
(by then at Fcify House, Warminster) on 16 January 1910
|
| 3955 |
Gilbert wrote that `sincc your visit I have put in hand the
|
| 3956 |
execution of the statucttc of st. George which you were good
|
| 3957 |
enough to commission, and I hope to be able to dclivcry it
|
| 3958 |
to you very shortly'. A new paragraph opened defensively:
|
| 3959 |
You appeared to think that the price I name,-£100-was
|
| 3960 |
excessive.-May I point out, that although it is in the main, a
|
| 3961 |
reproduction, it is really, other, for all the accessories, such as the
|
| 3962 |
sword, the base, ctcetera, demand special work, seeing that I have
|
| 3963 |
no models of these details, and must therefore remake them. Your
|
| 3964 |
version then will be unique, though in general features it will
|
| 3965 |
resemble the original. As to the St. Hubert with the Stag [a figure
|
| 3966 |
also planned for the tomb of the duke of Clarence] I should be glad
|
| 3967 |
of your decision. Its reproduction will bc formed by the same
|
| 3968 |
considerations,-both figures will be signed by me, with a special
|
| 3969 |
mark.
|
| 3970 |
This letter was certainly disingenuous. Comparison with the
|
| 3971 |
casts of 1899 and the existence of the casting patterns makes
|
| 3972 |
it clear that the extent of special work was exaggerated, and
|
| 3973 |
in the event it was only the sword which was specially
|
| 3974 |
modelled for Brocklebank's version.
|
| 3975 |
Gilbert's next letter to Brocklebank, addressed to Hinside,
|
| 3976 |
Warminster, was dated 20 January 1910. `Sincc you arc good
|
| 3977 |
enough to say that you arc likely to consider the purchase of
|
| 3978 |
another figure, if the first satisfies you, I accept your terms
|
| 3979 |
for the "St. George", though its sale at the price you offer
|
| 3980 |
[prcsumably something like £80] would but barely
|
| 3981 |
remuncratc me for all the extra work its preparation entails to
|
| 3982 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
85
|
| 3984 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 3985 |
make it unlike in detail its prcdeccssors, to say nothing of the
|
| 3986 |
actual cost of production, were I to give it you down. I feel
|
| 3987 |
quite confident of giving you satisfaction however through
|
| 3988 |
the St. George.-As to the ``St. Hubert" or the "Virgin"
|
| 3989 |
which you have mistaken for St. Clara, I could not possibly
|
| 3990 |
give you for the same sum, for the double reason, lst I am
|
| 3991 |
not free at present to reproduce them, and 2dly were I so,
|
| 3992 |
they each of them cost me more to produce [than the sum in
|
| 3993 |
question]. I can however let you have a "Victory"-not the
|
| 3994 |
small one you saw here but the original size, simultaneously
|
| 3995 |
with the "St. George".' His next letter of 30 January concerns
|
| 3996 |
the V¢.cfory (scc No. 502), but includes the following: `1 shall
|
| 3997 |
bc very delighted to make for you a companion figure to St.
|
| 3998 |
George, and if you win give me a subject I will endeavour to
|
| 3999 |
give it form . . . as to the new figure, if it is to remain
|
| 4000 |
absolutely a unique production I must ask you £200 or fl50
|
| 4001 |
if you give mc the right to make one copy.' On 28 June 1910
|
| 4002 |
Gilbert wrote from Faulkner's Hotel, Vflhers Street, I.ondon,
|
| 4003 |
where he had been attending to some `troublesome business'.
|
| 4004 |
He was grateful to Brocklebank for his `exceedingly kind
|
| 4005 |
letters' and proposed to send off the `most beautiful cast of
|
| 4006 |
the St. George' next wcck on his return to Brugcs. It seems
|
| 4007 |
that another warrior saint designed for the tomb of the duke
|
| 4008 |
of Clarence had been proposed as a companion by
|
| 4009 |
Brocklebank-the Sf A4:¢.choc/ (cast for Windsor in 1899)-
|
| 4010 |
but, Gilbert protested, `1 cannot repeat "St Michael" for I
|
| 4011 |
have no model existent, but I should be only too delighted
|
| 4012 |
to make you a new figure of the same subject, and I should
|
| 4013 |
prefer it to be #„¢.g#c'. Gilbert had in fact made a repetition
|
| 4014 |
of the Sf A4¢.c¢fl}c/ in 1900 for William Vivian as a companion
|
| 4015 |
for the bronze S£ GGo7igG which Gilbert had sold in 1899 to
|
| 4016 |
Dunthornc (Dorment, op. cit., no. 73, p.165) but the model
|
| 4017 |
may well have been destroyed in the late summer of 1901
|
| 4018 |
when the sculptor went bankrupt and, he claimed, smashed
|
| 4019 |
his models to save them from the bailiffs.
|
| 4020 |
The succeeding letters must have maddened Brocklcbank.
|
| 4021 |
On 22 July Gilbert conceded that more than thrcc weeks had
|
| 4022 |
passed and hc had not sent the S£ Gco7i2i7e but he found that
|
| 4023 |
it still needed work, although the casting was good. On 28
|
| 4024 |
July hc found that he needed `an extra day or two to revise
|
| 4025 |
some of the detail'. On 19 Septcmbcr he announced that he
|
| 4026 |
was `not satisfied with the casting', had had to work much
|
| 4027 |
upon it-`Another cause of delay is, that I have altered the
|
| 4028 |
sword, and substituted for it an object of quite a new
|
| 4029 |
treatment. To wit, a sword in emblem rather than a weapon
|
| 4030 |
in fact.' On I December he is nearly ready to send the cast:
|
| 4031 |
`The delay has been no fault of mine. I have been waiting for
|
| 4032 |
two months past, the casting of the final dctal [thc cross].-
|
| 4033 |
It has arrived tonight. Tomorrow, I sham fit it in its place, and
|
| 4034 |
pack and send off to you the figure.' On 9 December he
|
| 4035 |
cxplaincd that mness had kept him from personal
|
| 4036 |
supcrintendancc of the packing but it will leave here `on
|
| 4037 |
Monday night'. Gilbert realzed that this was the moment
|
| 4038 |
for some flattery and pathos.
|
| 4039 |
I have substituted, for the oriSnal sword, a Processional Cross,
|
| 4040 |
which I like better myself, as being richer, and to my thinking, more
|
| 4041 |
suitable.-I must leave you to judge of this for yourself. I can only
|
| 4042 |
add, that what I have done has been prompted by a desire to do
|
| 4043 |
86
|
| 4044 |
my best, and I hope you will realizc that the onginal price I asked
|
| 4045 |
you, was not excessive, in view of the result, which I assure you,
|
| 4046 |
has cost me as much personal work, as a new creation would have
|
| 4047 |
done. I never send anything out of my work shop, that has not had
|
| 4048 |
my personal attention and care. It is perhaps for that reason that I
|
| 4049 |
live as I do, in solitude, and from hand to mouth. But let all that
|
| 4050 |
pass.~I was very grateful to you for coming to me at all, at a
|
| 4051 |
moment when I thought nobody cared for me more, and I have
|
| 4052 |
endeavoured to prove my sentiment, through the work I am sending
|
| 4053 |
you.
|
| 4054 |
On 14 Dcccmbcr Gilbert was able to write that
|
| 4055 |
`St. George' left here last night, and I consigned it myself to the
|
| 4056 |
Railway agents. I could not do so on Monday because I was obliged
|
| 4057 |
to keep my bed, owing to a slight attack of Bronchitis.-I was
|
| 4058 |
unable to prepay the carriage because I could get no through rate
|
| 4059 |
to Warminster. The cast went straight to you by `Grande Vitesse'
|
| 4060 |
thoroughly well packed and covered with every direction requisite
|
| 4061 |
. . . I did not insure, for I have always found such a proceeding
|
| 4062 |
useless . . . I have not 6tamped the bronze with my `tradc mark'!
|
| 4063 |
for I could not find a single spot on the whole work, where such a
|
| 4064 |
Superimposition, would not have interfered with the work.-I think
|
| 4065 |
the best plan would be for me to give you a signed label which you
|
| 4066 |
can affix under the plinth. I enclose such a document.
|
| 4067 |
The document in question survives. Unfortunately owing to
|
| 4068 |
rough handling by the customs the bronze was broken-presumably
|
| 4069 |
in the processional cross. On 19 December Gilbert
|
| 4070 |
expressed his determination to mend this in the spring. Hc
|
| 4071 |
received a banker's draft on New Year's Day 1911. On 29
|
| 4072 |
June 1911 he explained that his visit to England has been
|
| 4073 |
delayed but he would `ccrtainly' come in the autumn. On 5
|
| 4074 |
September hc wrote that hc had to renounce for the present
|
| 4075 |
his intended visit. Brocklcbank no doubt got someone else to
|
| 4076 |
fix the processional cross (No. 507) but not very securely for
|
| 4077 |
it has long been detached. I.ooking at it with the Sf GGo7gigG it
|
| 4078 |
seems incredible that they were ever attached: not only is the
|
| 4079 |
cross compositionally ungainly but it is a lost-wax cast which
|
| 4080 |
exposes the dry and mechanical sand-cast finish of the Sf
|
| 4081 |
George.
|
| 4082 |
Foundry of the Compagnie des Bronzes, Brussels
|
| 4083 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 4084 |
@@PROCESS
|
| 4085 |
507. Crucifix surrounded by
|
| 4086 |
chembim
|
| 4087 |
13.5 cms. (height); 9.5 cms. (width)
|
| 4088 |
Bronze with a dark chestnut patina worn to a pale tan in the more
|
| 4089 |
salient parts. I.ost-wax cast, hollowed behind. There is no evidence
|
| 4090 |
of chiselling of any kind.
|
| 4091 |
For provenance see No. 506 to which this was attached.
|
| 4092 |
Gilbert claimed that this bronze was invented as a processional
|
| 4093 |
cross for S£ GGo#gG to carry, in lieu of the sword with a crucifix
|
| 4094 |
on the hilt which he had earlier employed. It may, however,
|
| 4095 |
have originated as an independent work, perhaps intended
|
| 4096 |
for execution in silver. It certainly resembles another
|
| 4097 |
ostentatiously waxy sketch involving the indistinct cherubim
|
| 4098 |
and angels whose wings enveloped the dead or dying Christ
|
| 4099 |
like petals; this is the bronze C47?.j7 J#4Po7?Gd ky ¢»g£/J,
|
| 4100 |
12cms.high,inaprivatecollectioninNewYork(RDorment,
|
| 4101 |
qurefiGi[`b:r:,`Sculpt!r_?ndGoldsmith(Ttoryalircdsny,
|
| 4102 |
I.ondon,1986), no. loo, p.185) which is closely related to
|
| 4103 |
a plaster cast published in the E¢Jfgy A# 14###¢/ ( 1903: 18)
|
| 4104 |
and may bc identical with a `headpiece of a dead Christ
|
| 4105 |
supported by Angels . . . nearly complete in mctal' which
|
| 4106 |
Henry Ganz saw in Gilbert's Bruges studio in September
|
| 4107 |
1907.
|
| 4108 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4109 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4110 |
Foundry of Compagnie des Bronzcs, Brussels
|
| 4111 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 4112 |
@@PROCESS
|
| 4113 |
508, 509, and 510. Truth (or
|
| 4114 |
Hope), Piety (or Faith), and Charity
|
| 4115 |
37.5 cms. (height of Tr#£¢); 37 cms. (height of PG.Gay); 36 cms.
|
| 4116 |
(height of Chor¢.ty); 8.6 cms. (diameter of integral bronze base
|
| 4117 |
of r7'i#£4); 8.5 cms. (diameter of integral bronze base of P¢.rty);
|
| 4118 |
8.7 cms. (diameter of integral bronze base of C4¢rG.ty)
|
| 4119 |
Bronze with a slightly brown green patina. Each figure is a hollow
|
| 4120 |
sand-cast of one piece with a prominent fin of `flashing' in the
|
| 4121 |
interior about half-way up. The plinths are integral, each is
|
| 4122 |
approximately circular in plan but cut off at the back. Originally
|
| 4123 |
mounted on wooden plinths ( untraced).
|
| 4124 |
Bequeathed by the Revd J. W. R Brocklebank in 1927. Probably
|
| 4125 |
acqulrcd by him after 1913, since they are not mentioned in Gilbert's
|
| 4126 |
letters to Brocklebank between 1910 and 1913. Nos. 23-5 on
|
| 4127 |
Andrew Shirley's receipt of January 1927 as `A set of 3 female
|
| 4128 |
figures symbolising Faith, Hope and Charity 18" high on wood
|
| 4129 |
plinths'.
|
| 4130 |
Gilbert received a commission for a memorial to the Rt. Hon.
|
| 4131 |
I.ord Arthur Russell ( 1825-92) to be erected in the mortuary
|
| 4132 |
chapel of the Bedford family in St Michacl's, Chcnies,
|
| 4133 |
Buckinghamshire, in 1892. He completed the work in 1900.
|
| 4134 |
The memorial takes the form of an elaborate candlestick about
|
| 4135 |
9 feet high, with four allegorical figures T7"£b, P¢.rty, C¢¢r¢.ty,
|
| 4136 |
and Co#r¢gG set about half-way up, above complex organic
|
| 4137 |
ornament incorporating enamelled panels. Gilbert quarclled
|
| 4138 |
with Alessandro Parlanti, the finest founder in I.ondon in
|
| 4139 |
these years, in November 1899 after he had delivered the
|
| 4140 |
C4¢rify, together with a duplicate cast, and the Co#r¢gG (R
|
| 4141 |
Dorment, A//rcd G¢./4c77 (New Haven, Conn., and Ijondon,
|
| 4142 |
1985), 193-7). The fact that a duplicate was cast of Cb¢rity
|
| 4143 |
reveals that Gilbert did not think of the figures as exclusively
|
| 4144 |
appropriate to the setting in Chenies; but there was no
|
| 4145 |
thought of an edition of any of the figures (which in any case
|
| 4146 |
would not have been popular with the Bcdford finily) until
|
| 4147 |
the sole right to reproduce casts of three of the allegorical
|
| 4148 |
figures (the three here-Co#r¢gG has a distinct character, as
|
| 4149 |
Dormcnt points out, and may well have been origivally
|
| 4150 |
conceived for a different purpose) was granted to the
|
| 4151 |
Compagnie des Bronzes who sold them through the Fine
|
| 4152 |
Art Society in Bond Street. How many were cast at this stage
|
| 4153 |
is not known but the bronzes are not very common. One set
|
| 4154 |
is in the City Art Gallery and Museum, Birmingham (P36-
|
| 4155 |
38.'64). Another set was lot 83 at Phillips, Ijondon, on 14
|
| 4156 |
April 1987 (illustrated in colour in the catalogue). They
|
| 4157 |
retained their wooden bases upon which the figures were
|
| 4158 |
identified as Hopc, F¢;£4, and Char;ty although we know that
|
| 4159 |
different identities were intcndcd for the oriSnal memorial.
|
| 4160 |
Another cast of the C4#rG.ty was lot 58 at Sotheby's, I.ondon,
|
| 4161 |
on 26 November 1986 but was incised across the back of the
|
| 4162 |
integral bronze base `Cast from Plaster/Alfred Gilbert'.
|
| 4163 |
The C4¢7dy from the Ashmolean's set when lent in 1986
|
| 4164 |
to the Royal Academy exhibition A//red GS./de7?.. Sc"/pfor ¢„d
|
| 4165 |
Go/drow¢.£¢ could be compared with the duplicate of the
|
| 4166 |
88
|
| 4167 |
Chenics C¢¢77.ty formerly in the collection of Alfred Drury
|
and now in the Victoria and Albert Museum (in store, A.2l-
|
| 4169 |
1971 ) and the superiority of the latter version was very clear.
|
| 4170 |
Gilbert had thought of giving the figures ivory hands and
|
| 4171 |
faces (Dorment, op. cit.) but instead polychromc ambitions
|
| 4172 |
were transferred to the bronze itself, and in the origival and
|
| 4173 |
the duplicate the flesh was patinated red by Parlanti to contrast
|
| 4174 |
with the golden brown draperies. The granular surface as well
|
| 4175 |
as the colour of the Ashmolcan sand-cast is dull when
|
| 4176 |
compared with that of Parlanti's lost-wax cast. The
|
| 4177 |
Ashmolean's figure is far less finely modelled-there is much
|
| 4178 |
less detail in the right sleeve, the fingers of her right hand
|
| 4179 |
have now vanished, she has no left hand at all, and thcrc is
|
| 4180 |
no expression on the children's faces. Similar differences can
|
| 4181 |
bc discerned by comparing photographs of the other two
|
| 4182 |
allegories with the bronzes in place at Chenies. The
|
| 4183 |
explanation must bc that Gilbert cithcr had plaster casts of
|
| 4184 |
the sketch models or more probably had rough plasters of the
|
| 4185 |
completed bronzes which he rcworkcd (using a hard workable
|
| 4186 |
plaster) to make them more suitable for sand-casting and
|
| 4187 |
perhaps broader in feeling, endeavouring to correct his own
|
| 4188 |
fatal pursuit of the over-elaborate.
|
| 4189 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
89
|
| 4191 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4192 |
Foundry of the Compagnie des Bronzcs, Brussels
|
| 4193 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 4194 |
@@PROCESS
|
| 4195 |
511. St Catherine (The Miraculous
|
| 4196 |
Wedding)
|
| 4197 |
49.5 cms. (height, including integral bronze base)
|
| 4198 |
Bronze with a very dark brown patina worn in some salient areas to
|
| 4199 |
a chocolate brown. Hollow, sand-cast. The base was cast separately
|
| 4200 |
and the figure bolted to it.
|
| 4201 |
Bequeathed by the Rcvd J. W. R Brocklebank in November 1926.
|
| 4202 |
Probably acquired by him after the summer of 1913 because not
|
| 4203 |
mentioned by Gilbert in his letters to Brocklcbank between 1910
|
| 4204 |
and 1913. No.15 in Andrew Shirley's rcccipt of January 1927 as
|
| 4205 |
`The Vlrgin and Child Standing 20" high'.
|
| 4206 |
Gilbert eventually included among the extraordinary saints in
|
| 4207 |
the grille of his tomb of the duke of Clarencc in the chapel
|
| 4208 |
at Windsor Castle two St Cathcrincs-Catherine of Sicna and
|
| 4209 |
Catherine of Egypt-and, although these were only
|
| 4210 |
completed after his return from `exile' in Bruges in 1926, hc
|
| 4211 |
must have been working on the thcmc at the time of his
|
| 4212 |
bankruptcy in 1901. Given the swirling forms of the broadly
|
spreading base for this figure it must, as Lavinia Handley-
|
| 4214 |
Read first pointed out, have been his project for a Sf C¢£ife7¢.#c
|
| 4215 |
in about 1898, which can also bc traced in a second modified
|
| 4216 |
version probably dating from a few years later ( `Alfred Gilbert:
|
| 4217 |
A New Assessment, Part 3: The Later Statuettes',
|
| 4218 |
Co»"o¢.JJc„r,164 ( 1968),148-51 ). Dorment has ingeniously
|
| 4219 |
proposed that 777c M¢.#¢c„/o#f Wcdd¢."g (as this group is
|
| 4220 |
often caued) is `a fusion of the imagery of both St Cathcrinc
|
| 4221 |
of Egypt, represented as a heavily veiled eastern woman, and
|
| 4222 |
St Catherine of Siena, who mystically wed the Christ Child'
|
| 4223 |
(Alf red Gilbert: Sculpeor and Goldsmith (R!ayal Aucedc:rrry ,
|
| 4224 |
London, 1986), no. 98, pp.1834), but, whilst it is true that
|
| 4225 |
Gilbert was capable of treating Christian imagery as if it were
|
| 4226 |
a private mythology to be embellished and varied as hc fancied,
|
| 4227 |
this figure is surely intended simply as St Catherine of Egypt
|
| 4228 |
(or of Alexandria as she is more usually known), for she as
|
| 4229 |
well as Catherine of siena received from Christ a ring. The
|
| 4230 |
action depicted in the sculpture is that of Christ kissing the
|
| 4231 |
hand which he has just honoured in this manner. Had the
|
| 4232 |
model been executed for Windsor it would no doubt have
|
| 4233 |
been polychrome but Gilbert was prepared to have less
|
| 4234 |
extravagant casts made. The first was cast by `O'Neill' and
|
| 4235 |
sold to a Mrs Richardson in 1900 as we know from Gilbcrt's
|
| 4236 |
son's studio diary. This version is now in `a Parish Church in
|
| 4237 |
Scotland' (no. 98 in the exhibition cited). There are other
|
| 4238 |
casts in the City Art Gallery and Museum, Birminghain
|
| 4239 |
(P38.'73) and in the collection of Mrs Noel Blakiston in
|
| 4240 |
I.ondon (see Dorment's entry for no. 99, p.182, in VG.cforG.¢„
|
| 4241 |
H¢d¢ Rc#¢!.ff#„ce, an exhibition held 1978-9 at the City Art
|
| 4242 |
Gallery, Manchester, at Minneapolis, and Brooklyn). As
|
| 4243 |
Dorment observed (ibid. ) it is surely to this work that Gilbert
|
| 4244 |
rcfcrs darkly in a letter to the press written in 1914 warning
|
| 4245 |
of pirated casts-`a first sketch for a small group, one of a
|
| 4246 |
number of subjects of its size, destined for the tomb of the
|
| 4247 |
90
|
| 4248 |
Duke of Clarencc, but abandoned for a better rendering
|
| 4249 |
upon which I am actually engaged at the present time'. It is
|
| 4250 |
typically inconsistent that Gilbert had himself sold a cast of
|
| 4251 |
the `abandoned' `skctch' in 1900.
|
| 4252 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4253 |
Foundry of the Compagnie des Bronzcs, Brussels
|
| 4254 |
After Sir Alfred GILBERT ( 1854-1934)
|
| 4255 |
@@PROCESS
|
| 4256 |
512. St George conducted by
|
| 4257 |
Victory
|
| 4258 |
56 cms. (height including integral bronze base); 26 cms. (diameter
|
| 4259 |
of integral bronze base); 2.35 cms. (height of marble plinth);
|
| 4260 |
26.8 cms. (diameter of marble plinth)
|
| 4261 |
Bronze with a dark brown to golden brown patina. The patina is
|
| 4262 |
somewhat deteriorated; but it can be seen that the figure of victory
|
| 4263 |
was originally brighter in colour. Hollow, lost-wax, cast. The
|
| 4264 |
pennant, palm, and brittle trappings are separately fashioned in
|
| 4265 |
copper. The integral bronze base terminates in mouldings of
|
| 4266 |
octagonal plan and fits upon (but is not bolted to) an octagonal
|
| 4267 |
plinth of dark grey fossil marble (English or Belgian). The group
|
| 4268 |
received conservation treatment in 1984 from David Armitage for
|
| 4269 |
a corroding interior caused by damp storage and by solder employed
|
| 4270 |
for a fixing bar.
|
| 4271 |
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
|
| 4272 |
Acquired by him after-probably soon after-27 May 1913. No.
|
| 4273 |
27inAndrewShirley'sreceiptofJanuary1927as`Agroup,Boadicea
|
| 4274 |
on rockwork plinth 21 " high'.
|
| 4275 |
The idea for the group originated, according to Gilbert, in a
|
| 4276 |
dream of 15 May 1904. Gilbert thought that it might serve
|
| 4277 |
as an over-life-size Boer War memorial. He exhibited a plaster
|
| 4278 |
sketch model of the equestrian Sf Gco#gG at the Royal
|
| 4279 |
Academy in 1906 (no. 1773, `St George and the Dragon,
|
| 4280 |
Victory leading. Sketch model for a proposed War
|
| 4281 |
Memorial'). The figure of victory is derived from the figure
|
| 4282 |
origivally devised for the Quccn Victoria Memorial at
|
| 4283 |
Winchester which at this period Gilbert was having cast as an
|
| 4284 |
independent statuette (see No. 502). On 22 July 1910 Gilbert
|
| 4285 |
wrote to Brocklebank that he had `other versions of the same
|
| 4286 |
theme [ V¢.c4ory] and I am only too glad of the opportunity
|
| 4287 |
of providing new work instead of repeating old cfforts'. On
|
| 4288 |
28 July hc was more explicit:
|
| 4289 |
I should prefer to give you a new work. I have the model of a St
|
| 4290 |
George on horseback, being led by Victory. This work is very far
|
| 4291 |
advanced, indeed it is in plaster and was exhibited a few years ago
|
| 4292 |
at the Royal Academy. Personally I consider it by far my best
|
| 4293 |
dccorativc effort. I have as I told you in my last letter, stin another
|
| 4294 |
version of the same theme. I am, as you will see fond of the subject.
|
| 4295 |
The subject comes up again on 25 Apul 1913 when Gilbert
|
| 4296 |
wrote to Brocklcbank as fouows:
|
| 4297 |
As regards the St. George led by Victory the model is intact, as you
|
| 4298 |
saw it at the Royal Academy; the legs of the horse, ¢ffG #of m¢»f¢.»g.
|
| 4299 |
You see what fuse impressions photography badly done, sometimes
|
| 4300 |
give. The model is actually in London, stored with many other
|
| 4301 |
things belonging to me. I shall be pleased to give you the first refusal
|
| 4302 |
of the work and this I win do later, when I can detcrminc a price.
|
| 4303 |
Imayadd,thatmypricedoesnot[illegrbleword-render?]necessary
|
| 4304 |
a ready cash payment, I am sometimes, better plcascd to receive my
|
| 4305 |
payments by installments.
|
| 4306 |
The group is presumably one of three pieces (the others a Sf
|
| 4307 |
JIf¢.c4¢c/ and a C¢.rcG) mentioned as being prepared for
|
| 4308 |
Brocklebank in a letter of 27 May 1913.
|
| 4309 |
There is no subsequent surviving correspondence in the
|
| 4310 |
Department's archive, but it would seem likely that the
|
| 4311 |
Ashmolean's group is one of the earliest, if not the earliest,
|
| 4312 |
of the casts made of this group. Any bronze made under
|
| 4313 |
Gilbert's direction by that date was cast by the Compagnie
|
| 4314 |
dcs Bronzcs (he used the firm's stationery for many of his
|
| 4315 |
letters to Brocklebank) and they were making casts of the
|
| 4316 |
group a decade later for the Fine Art Society-the version in
|
| 4317 |
the Fitzwiuiam Museum, formerly in the Handley-Read
|
| 4318 |
Couection, can be dated to 1923. This latter version (which
|
| 4319 |
was no. 101 in the Royal Academy exhibition of 1986, 4//7cd
|
| 4320 |
Gjlper:: Sc_ulp.i?r .and Goldsmith) is .in saperto[ condiion,
|
| 4321 |
with the Gothic letters on the pennant for instance possible
|
| 4322 |
to decipher as `Alfred Gilber[' and distinguished in gold. The
|
| 4323 |
pennant is missing from an otherwise very fine cast in the Ijos
|
| 4324 |
Angcles County Museum of Art (M. 87.119.17).
|
| 4325 |
The problem that the letters to Brocklebank leave unclean
|
| 4326 |
is whcthcr Gilbert intended to make the group something
|
| 4327 |
less like a sketch. As it is, the base represents a weird and
|
| 4328 |
unresolved combination of the naturalistic symbolism found
|
| 4329 |
in the base of the Jc¢pr#f (No. 500) and the swirling symbolic
|
| 4330 |
ornament about which hc had since become so obsessed.
|
| 4331 |
Most viewers, however, fun to pcrccive the form of the dead
|
| 4332 |
dragon draped over the battlements of a toy city, so
|
| 4333 |
completely do both seem to decompose into the mud upon
|
| 4334 |
which the dainty knight (understandably mistaken for a
|
| 4335 |
woman by Andrew Shirley) prances.
|
91
|
| 4337 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4338 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4339 |
Dora GORDINE FRBs (b. 1906)
|
| 4340 |
@@PROCESS
|
| 4341 |
513. Posthumous portrait of
|
| 4342 |
Lucien Pissarro
|
| 4343 |
31.7cms. (height); 7.5 cms. (height of plinth); 24cms. (length
|
| 4344 |
of plinth); 20 cms. (width of plinth)
|
| 4345 |
:ars::zfo¥:hGaof:Sn¥;i:edne::,;:#cfs:,fjEatu;ncain¥::[oa:;:::tt.hwearb,ack
|
| 4346 |
of the crown of the head. Mounted on a wooden plinth.
|
| 4347 |
Presented by Orovida Pissarro, daughter of Lucien, in June 1957-
|
| 4348 |
registcrcd on 12 June.
|
| 4349 |
Lcttcrs in the Pissarro archive reveal that Dora Gordine Hare
|
| 4350 |
(she married in 1936 the Hon. Richard Hare, 1907-66,
|
| 4351 |
diplomat and linguist) was a friend of Orovida Pissarro. The
|
| 4352 |
sculptor acknowledged a chcquc for £50 towards the bronze
|
| 4353 |
of the latter's father on 5 June 1956 and in a letter which
|
| 4354 |
probably accompanied this she discussed the increase in cost
|
| 4355 |
which beard and hat would occasion over her oridnal estimate:
|
| 4356 |
noting that these doubled the size of the mere head and that
|
| 4357 |
one could hardly dispense with the beard and that one always
|
| 4358 |
had to pay for being distinctive rather than `mass-produced'.
|
| 4359 |
The hat was, it seems, omitted. A further payment of floo
|
| 4360 |
was acknowledged on 30 September 1956, as was, on 6 June
|
| 4361 |
1957, a `final cheque' of £815f. It would seem that Orovida
|
| 4362 |
commissioncd the sculpture specifically for the new Pissarro
|
| 4363 |
Room which was opened in the Ashmolcan Museum at the
|
| 4364 |
end of June, although in the event it was placed elsewhere
|
| 4365 |
and only the bust of Camille Pissarro by Paulin (No. 296)
|
| 4366 |
was set up in the room (which seems to have displeased Dora
|
| 4367 |
Gordinc). The projected hat might have been designed to
|
| 4368 |
make the portrait more of a companion with the Paulin.
|
| 4369 |
Letters from Ian Robertson to Orovida Pissarro of 15 and 24
|
| 4370 |
April discuss the patina of the bronze. According to
|
| 4371 |
Robertson, the Keeper, Parker, felt that the Paulin bronze
|
| 4372 |
was too black and had bccn impressed by a paler grecni§h
|
| 4373 |
patina that he had seen given to a torso by Rodin with the
|
| 4374 |
dealers Roland Browse and Delbanco and this Gordine was
|
| 4375 |
urged to imitate. A letter of 27 May suggests that the plinth
|
| 4376 |
was provided by the Museum.
|
93
|
| 4378 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4379 |
Joseph GOTT ( 1786-1860)
|
| 4380 |
@@PROCESS
|
| 4381 |
514. Cupid
|
| 4382 |
41.4cms. (height of bust); 11.8 cms. (height of turned socle and
|
| 4383 |
block plinth)
|
| 4384 |
Carrara marble. `l. GOTT Fl' is chiselled on the back edge of the
|
| 4385 |
temination of the bust. `S.34 e' is painted in black below the
|
| 4386 |
neck. Mounted on original turned and waisted socle with flat space
|
| 4387 |
•for inscription above upper mouldings.
|
| 4388 |
Bequeathed by C. D. E. Fortnum in 1899. S. 34 in his catalogues.
|
| 4389 |
Probably acquired by him in Rome in 1851 (see No. 3), ccrtalnly
|
| 4390 |
acquired by him before 1857 when included in his preliminary
|
| 4391 |
manuscript catalogue (p. 7). The photographs of the Hill House,
|
| 4392 |
Stanmore, drawing room show the bust companion with No. 515
|
| 4393 |
on black marble piers on either side of a large looking glass opposite
|
| 4394 |
Nos. 3 and 20 similarly arranged at the other end of the room.
|
| 4395 |
The bust is copied from the celebrated A7#o7ic or Erof a/
|
| 4396 |
Centocelle. also lmown a.s the Genius Of the Vatican, a statue-never
|
| 4397 |
restored in the arms and also missing most of the legs-which
|
| 4398 |
was to be seen in the Galleria delle Statue in the Vatican
|
| 4399 |
Museums. It had been discovered before 1772 under the
|
| 4400 |
papacy of Clement XIV, to whom it was sold for 280 fc#d¢.
|
| 4401 |
by Gavin Hanilton, having been excavated on the Via
|
| 4402 |
Labicana, Centocelle, on the site (Visconti speculated) of the
|
Villa of Heliogabalus. (See E. Q. Visconti, A4"fco P¢.a-a/
|
| 4404 |
c7"e"£¢.»o (Rome,1818), i, pl. xii, pp. 20-I; C. Pietrangeli,
|
| 4405 |
Scarii e scoperte di antichitd sotto il Pontificato di Pio VI
|
| 4406 |
(Rome,1958), 89 no. 4.) Copies were quickly in demand
|
| 4407 |
with visitors to Rome and they seem usually to have been
|
| 4408 |
busts. Henry Blundell, for instance, had two in his collection
|
| 4409 |
at Ince in Lancashire by 1803 (`H.B.', Acco#7¢£ a/£¢c Sf¢f"GJ
|
| 4410 |
. . . ¢f J»cc (Liverpool, 1803), mos. 121 and 183, probably
|
| 4411 |
corresponding with nos. 6901 and 6909 in the Walker Art
|
| 4412 |
Gallery, Liverpool, today, as noted by E. Morris and M.
|
| 4413 |
Hopkinson, FoyGGgiv C¢£¢/o2r%G (Liverpool,1977), 318-19).
|
| 4414 |
Fortnum seems to have had no personal knowledge of, or at
|
| 4415 |
least not much interest in, Gott, whose initial hc records in
|
| 4416 |
his later catalogues as `1.' misreading his own handwriting
|
| 4417 |
(`J' is given in his early entry).
|
| 4418 |
94
|
| 4419 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4420 |
Joseph GOTT ( 1786-1860)
|
| 4421 |
@@PROCESS
|
| 4422 |
515. Isis
|
| 4423 |
54.5 cms. (height including socle); 12 cms. (height of socle);
|
| 4424 |
19.5 cms. (diameter of socle)
|
| 4425 |
Carrara marble. Chiselled on back edge of termination of the t5ust:
|
| 4426 |
`T. GOTT Fl' Mounted on an original turned and waisted socle with
|
| 4427 |
a flat space for inscription above the upper mouldings.
|
| 4428 |
Bequeathed by C. D. E. Fortnum in 1899. S. 35 in his catalogues.
|
| 4429 |
Probably acquired by him in Rome in 1851 (see No. 3), certainly
|
| 4430 |
acquired by him before 1857 when included in his preliminary
|
| 4431 |
manuscript catalogue (p. 7). For location in the Hill House,
|
| 4432 |
Stanmoor, see No. 514, for which this is evidently designed as a
|
| 4433 |
companion.
|
| 4434 |
The head is copied from one in the Sala dei Busti of the
|
| 4435 |
Museo Pio-Clemcntino in the Vatican acquired from Cardinal
|
| 4436 |
Albani's collection under the pontificate of Pope Pius VI and
|
| 4437 |
published by Visconti as rcprescnting Isis on account of the
|
| 4438 |
I.otus-shaped central curls. It is now regarded simply as an
|
| 4439 |
ideal female. There are no obvious differences except that in
|
| 4440 |
the Vatican version the shoulders and chest are uncomfortably
|
| 4441 |
terminated along the lines of the falling locks of hair so that
|
the head is more obviously a tidied-up fragment of a full-
|
| 4443 |
1ength statue-the soclc, however, is the same. (For the
|
| 4444 |
Vatican marble see W.' Amelung, D¢.c Sc#/P£"7ic„ deJ
|
| 4445 |
V¢f¢.c¢7?¢.Jc¢c7¢ A4l#fc"7#f (Berlin,1908), ii, 3, no. 375,
|
pp. 558ndo (text) and ii, pis. 65 and 73.)
|
| 4447 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4448 |
Giovanni Battista GUELFI (active 1715-34)
|
| 4449 |
@@PROCESS
|
| 4450 |
516 and 517. Bust portraits of
|
| 4451 |
Thomas Fermor and his wife
|
| 4452 |
Henrietta Louisa, earl and countess
|
| 4453 |
of Pomfret
|
| 4454 |
71.5 cms. (height of bust of I.ord Pomfret including socle);
|
| 4455 |
74.7 cms. (height of bust of IAdy Pomfret including socle);
|
| 4456 |
13.4 cms. (height of both socles); 19.8 cms. (diameter of base of
|
| 4457 |
both socles); 121 cms. (height of both pedestals)
|
| 4458 |
Carrara marble. There is a slight flaw in the marble under the chin
|
| 4459 |
of the portrait of Lady Pomfret. Both busts are attached to turned,
|
| 4460 |
waisted socles of a green and pink bruised and mottled breccia
|
| 4461 |
marble. There is a metal plate attached under the base of the socle
|
| 4462 |
of the bust of I.ady Pomfret. Both busts are mounted on pedestals
|
| 4463 |
in the form of column shafts of ¢rccc;¢ dG. SGr"pezz# marble with
|
| 4464 |
plinth and base moulding of white Carrara marble. The names of
|
| 4465 |
the sitters and their dates are chiselled on the columns and the
|
| 4466 |
letters are added.
|
| 4467 |
Presumed to have been given to the University of Oxford with the
|
| 4468 |
residue of the earl of AIundcl's conection of marbles at Easton
|
| 4469 |
Neston by the dowager countess of pomfret in 1755, but conceivably
|
| 4470 |
added to that gift after her death. Recorded by C. F. Ben in the
|
| 4471 |
first of his j4"„#¢/ RcPo#f to the visitors of the Ashmolean Museum
|
| 4472 |
as Keeper of the newly formed Department of Fine Art (1908: 9)
|
| 4473 |
as recently supplied with their pedestals and inscriptions and placed
|
| 4474 |
in two of the niches on the landing of the redecorated great staircase,
|
| 4475 |
where they have remained ever since.
|
| 4476 |
E=
|
| 4477 |
r
|
| 4478 |
96
|
| 4479 |
The suggestion that this pair of busts is by Guclfi seems first
|
| 4480 |
to have been made by Mrs Esdaile (in a letter to C. F. Bell of
|
| 4481 |
1922 or 1923 which has not survived but to which Mrs Esdaile
|
| 4482 |
refers in a later letter to Parker of 15 November 1934). She
|
| 4483 |
pointed out that Guclfi was known to have worked for the
|
| 4484 |
Pomfrets at Easton Neston. The similarity with other
|
| 4485 |
documented and signed sculpture by Guelfi, and in particular
|
| 4486 |
with other bust portraits, confirms the attribution beyond
|
| 4487 |
reasonable doubt. Comparison with the marble bust inscribed
|
| 4488 |
`Joannes Baptista Guelfi Romanus fccit' commemorating the
|
| 4489 |
duchess of Richmond, who died in 1722, part of the
|
| 4490 |
monument crectcd in 1734 in the church at Decne,
|
| 4491 |
Northamptonshire, for which the terracotta model is in the
|
| 4492 |
Victoria and Albcrt Museum, is particularly telling.
|
| 4493 |
If the latter terracotta is excepted, the busts of the Pomfrets
|
| 4494 |
must be the best surviving works by Guelfi in this country.
|
| 4495 |
They are also in excellent condition. The flow and the texture
|
| 4496 |
of the antique drapery, the crisp carving of the hair (most
|
| 4497 |
evident in Lady Pomfret's side curls), and the softness of the
|
| 4498 |
flesh (in Lord Pomfret's lips especially) are marvellously
|
| 4499 |
preserved. However, the fact that husband and wife look
|
| 4500 |
sufficiently alike to bc brother and sister hints at Guelfi's
|
| 4501 |
limitation as a portraitist-a limitation weu defined by
|
| 4502 |
Margaret Whinney: `All Guelfi's portraits have the sane long
|
| 4503 |
faces, large-featured, haughty, and shghtly horse-like-in fact,
|
| 4504 |
to an Italian, the typical English face' (Sc#/Pf"rG G.# Br¢.}¢G.7¢
|
| 4505 |
1530-J830 (Harmondsworth,1964), 81 ).
|
| 4506 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4507 |
Perhaps by Giovanni Battista GUELFI (active 1715-34|
|
| 4508 |
@@PROCESS
|
| 4509 |
518. Female sphinx `couchant'
|
| 4510 |
61 cms. (height including integral plinth); Ill cms. (length of
|
| 4511 |
integral plinth); 33 cms. (width of integral plinth)
|
| 4512 |
Coarse-grained white marble (not Carrara). The surface is much
|
| 4513 |
abraded from exposure to the frost. The nose, pa.rt of the lips, and
|
| 4514 |
the top of the miniature Double Crown have been broken off (before
|
| 4515 |
1763). The sculpture was cleaned by Mrs Kimber in 1989. It was
|
| 4516 |
previously darkened with much deeply ingrained dirt and partially
|
| 4517 |
green from moss.
|
| 4518 |
The sphinx is one of a pair belonging to the collection of ancient
|
| 4519 |
sculptures given to Oxford University by the dowager countess of
|
| 4520 |
Pomfrct (see No. 526) in 1755. The collection included a large part
|
| 4521 |
of the `Arundel marbles' bought by her father-in-law Sir William
|
| 4522 |
Fermor (later Ijord Lempster) from the sixth duke of Norfolk in
|
| 4523 |
1691; until its transfer to Oxford it was housed at the Pomfrets'
|
| 4524 |
seat Easton Neston, Northamptonshire, where the sculptures were
|
| 4525 |
distributed between the house and grounds. The two `Sphynges'
|
| 4526 |
were seen in the garden-house there by John I.oveday (J. E. T.
|
| 4527 |
I.oveday, D¢.¢vy a/a To#y j» j732 (Roxburghc Club, Edinburgh,
|
| 4528 |
1890), 225). Both may have originally been in the great collection
|
| 4529 |
formed by the earl of Arundel in the first half of the seventeenth
|
| 4530 |
century: there are, however, grounds for thinking that only one
|
| 4531 |
came from that source, and that the other was made at the behest
|
| 4532 |
of the Pomfret family (scc below). In Oxford the sphinxes were
|
| 4533 |
placed in the sculpture gallery of the Old Schools to either side of
|
| 4534 |
the statue of "¢.»crp¢ which closed the vista as may just be discerned
|
| 4535 |
in William Westall's watercolour drawing of 1813. After transfer to
|
| 4536 |
the University Galleries they were placed in the Crypt or sub-gallery
|
| 4537 |
but remained visible to the public. They are recorded there in the
|
| 4538 |
H¢#dfoo4 G„¢.dG of 1859 (mos. 114 and 116, p. 23). They seem to
|
| 4539 |
have been put into storage in the late nineteenth century. They
|
| 4540 |
were loaned to the Botanic Gardens whose curators had requested
|
| 4541 |
suitable statuary in 1959. In May 1989 they were rctrievcd on the
|
| 4542 |
initiative of Dr Whitchouse and placed on display in the Randolph
|
| 4543 |
Gallery.
|
| 4544 |
Although the two Pomfret sphinxes are closely matched in
|
| 4545 |
iconography, there are notable differences of style: the sphinx
|
| 4546 |
catalogued here seems to have been modelled on the other
|
| 4547 |
statue, which is smaller and less well preserved. Neither is an
|
| 4548 |
accomplished piece of sculpture, and the smaller sphinx has
|
| 4549 |
been executed in a particularly summary fashion. Nonetheless,
|
| 4550 |
its adherence to traditional Egyptian iconography is
|
| 4551 |
noteworthy, and suggests that it is of the Roman Imperial
|
| 4552 |
period, when other sinular sphinxes were certainly made for
|
| 4553 |
`Egyptian' settings. The white marble is atypical of native
|
| 4554 |
Egyptian work, even of this period, and probably indicates a
|
| 4555 |
Mediterranean origiv. This sphinx might well have been
|
| 4556 |
acquired in Italy in the seventeenth century for Anindel's
|
| 4557 |
collection.
|
| 4558 |
Its larger companion (No. 518) is a more corpulent and
|
| 4559 |
fleshy creation in which the details of the smaller sphinx are
|
| 4560 |
copied but improved upon: the anatomy is rendered more
|
| 4561 |
plastically, the face broadened and ennobled, the roughly
|
| 4562 |
incised details of the collar translated into relief, and the
|
| 4563 |
striped »cowef headcloth treated in a style closer to the
|
| 4564 |
cushiony aspect of this fcaturc on rococo sphinxes. The
|
| 4565 |
rounded profile of the chest has been converted, erroneously,
|
| 4566 |
into swelling female breasts. The sphinx might have been
|
| 4567 |
made for Arundel, but for reasons of style and circumstance
|
| 4568 |
it seems likely that it was commissioned as an addition to the
|
| 4569 |
collection at Easton Neston, at a time when paired sphinxes
|
| 4570 |
(often differentiated as male and female) were becoming
|
| 4571 |
popular items of garden sculpture.
|
| 4572 |
Guelfi was said by Vertuc to have spent `somc time at Iid.
|
| 4573 |
Pomfrets . . . Eston . . . Northampt. imployd. repairing the
|
| 4574 |
Antique Statues. Arundel Collect.' (`The Vcrtuc Notebooks',
|
| 4575 |
iri, Wfl7/po/c Soc¢.cty, 22 ( 19334), 734) so it is likely that it
|
| 4576 |
was he who created this larger sphinx to pair with the smaller,
|
| 4577 |
ancient one (as suggested by John Davis in his forthcoming
|
| 4578 |
study of garden ornaments). `Afterwards Guclfi was much
|
| 4579 |
employed for many years by Iud. Burlington in his house in
|
| 4580 |
I.ondon and made many statues for his Villa at Chiswick'
|
| 4581 |
(ibid. ). There are at Chiswick a pair of portland stone sphinxes
|
| 4582 |
dating from before 1733 (now in the gardens north of the
|
| 4583 |
house) which show strong similarities to the Pomfrct pair
|
| 4584 |
with their miniature Double Crowns. They arc, however,
|
| 4585 |
much more accomplished sculptures and have the addition
|
| 4586 |
of omamcntal saddle-cloths masking their ribby flanks, a
|
| 4587 |
dcvicc probably popularized by Houzeau and Lerambert's
|
| 4588 |
Versailles pair of 1668 (seemingly the progenitors of the
|
| 4589 |
fashion for garden sphinxes, though the putti which
|
| 4590 |
accompany them do not appear elsewhere). The Chiswick
|
| 4591 |
stone sphinxes scrvcd in turn as the models for a lead sphinx
|
| 4592 |
by John Cheere (at Chiswick, with copies elsewhere) and a
|
| 4593 |
pair of stone sphinxes at Goodwood.
|
| 4594 |
The sift of the Pomfret Collection to the University was
|
| 4595 |
marked in the O#o#¢ A/ow¢"¢c& for 1755 with a fanciful
|
| 4596 |
engraving of its triumphant arrival, but the single sphinx
|
| 4597 |
depicted therein resembles neither sculpture closely but is
|
| 4598 |
rather a generic representation, typical of antiquarian
|
| 4599 |
iuustrations of the period. The larger sphinx was illustrated
|
| 4600 |
in an engraving by J. Miller in Chandier's A4l¢rowo7¢ O#o»¢.c»j¢
|
| 4601 |
of 1763 in a garden setting and in its prcscnt broken condition
|
| 4602 |
(i, pl. CIXVII). In Chandler's notes there is no indication
|
| 4603 |
that it was not an ancient work like its companion: `eximie
|
| 4604 |
sculpta, ct cum altera, quam habemus, huic simili, more
|
| 4605 |
Aegyptio omatissima' (ibid. p. viii).
|
| 4606 |
Most of this catalogue entry has been compiled by Helen
|
| 4607 |
Whitehouse of the Department of Antiquities.
|
97
|
| 4609 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4610 |
98
|
| 4611 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4612 |
H. HELY (active 1822)
|
| 4613 |
@@PROCESS
|
| 4614 |
519. Dying gladiator
|
| 4615 |
49+7 cms. (height including plinth); 6.9 cms. (height of plinth);
|
| 4616 |
94.8 cms. (length of plinth); 44.6 cms. (width of plinth)
|
| 4617 |
Carrara marble. The sculpture was discoloured a uniform dark brown
|
| 4618 |
presumably from storage in condition where dirt was combined
|
| 4619 |
with the discharge of oil heating-t a glance it would have been
|
| 4620 |
mistaken for a bronze. When cleaned early in 1987 it was found
|
| 4621 |
that the marble had been stained an unattractivc yeuow and all the
|
| 4622 |
original polish had been lost. The end of the penis has been broken
|
| 4623 |
off and lost, as has the large toe of the proper right foot. There are
|
| 4624 |
recent minor losses to the lower edge of the plinth. A small
|
| 4625 |
projection in the pubcs reflects the use of a copyist's point. `H. HELy.
|
| 4626 |
FACIEBAT / ROMAE. MDCCCXXII.' is chiselled on the front face of
|
| 4627 |
the plinth to proper left near the figure's left foot. The date is in
|
| 4628 |
smaller capitals.
|
| 4629 |
From the bequest of the Revd Robert Finch MA, received in the
|
| 4630 |
Department soon after 22 February 1973 when the Librarian of the
|
| 4631 |
Taylor Institute, Giles Barber, wrote to Gerald Taylor seeking
|
| 4632 |
suitable storage for this item (and a plaster cast of an antique relief).
|
| 4633 |
The sculpture was no. 45 on a list of 45 works of art described as
|
| 4634 |
part of the bequest in a memorandum dated `4/6/83' (1883) to
|
| 4635 |
which the note is added that the above works were `finally' handed
|
| 4636 |
to the Keeper of the Ashmolean on 22 August 1921 but returned
|
| 4637 |
by him as not desirable. The history of this bequest is highly
|
| 4638 |
complicated. Finch ( 1783-1830) died in Rome, having resided for
|
| 4639 |
some years in Italy for reasons of health. He bequeathed his library
|
| 4640 |
and works of art to Oxford University, with a life interest for Henry
|
| 4641 |
Mayer, his secretary, who, however, handed them over to the
|
| 4642 |
University in 1839. The collections were deposited in the Taylorian
|
| 4643 |
but were redistributed and partly disposed of around 1910. C. F.
|
| 4644 |
Bell, then Keeper of the Department of Fine Art, did his utmost
|
| 4645 |
not to accept anything and had a specially low opinion of this marble.
|
| 4646 |
Although no documentation exists to prove it, however, it must be
|
| 4647 |
identical with the copy of the G/¢d¢.¢}or displayed in the University
|
| 4648 |
Galleries during the nineteenth century at the head of the stairs
|
| 4649 |
leading down from the Randolph Gallery to the basement.
|
| 4650 |
The J2)l¢."gg/¢dG.¢£o7', or P);¢.„g G¢#/, in the Capitolinc
|
| 4651 |
Museum, of which this is a poor, reduced copy, was for
|
| 4652 |
several centuries one of the most famous and frequently copied
|
| 4653 |
antique statues. For an account of its fame and critical fortunes
|
| 4654 |
see F. Haskell and N. Penny, T¢ae ¢#d £4e A78f¢.g"c (I.ondon
|
| 4655 |
and New Haven, Conn.,1981), 224-7. I have found no
|
| 4656 |
other mention of the sculptor Hely.
|
99
|
| 4658 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4659 |
Presumably `Cox of Chapel Place', I.ondon
|
| 4660 |
After John HENNING ( 1771-1851 )
|
| 4661 |
@@PROCESS
|
| 4662 |
520. Gods in congress, warriors on
|
| 4663 |
parade, and sacrificial procession
|
| 4664 |
(from the Parthenon frieze)
|
| 4665 |
Each relief is 5.2 cms. high. They are of varied length. The frame
|
| 4666 |
is 32 cms. high and 43 cms. long
|
| 4667 |
Twenty-one thin copper electrodeposits, slightly tarnished, nailed
|
| 4668 |
irregularly into wood, and framed with a plain, flat, coarse pine
|
| 4669 |
moulding painted white. The five reliefs in the first row include
|
| 4670 |
inscriptions in raised letters as follows: `W5 HENNING F 1819';
|
| 4671 |
`W9 / HENNING F 1819'; `W4 HENNING F. PUB. 1817'; `Wl 1';
|
| 4672 |
`Wlo / HENNING F / 1819 / 19 QUEENS ROW. PENTONVILLE
|
| 4673 |
LONDON'. Of the four reliefs in the second row the first is unlettered,
|
| 4674 |
the others are inscribed as follows: `HENNING. F. 1820'; `W5
|
| 4675 |
HENNING F 1819'; `HENNING F. APRIL 1820 / I.ondon'. The four
|
| 4676 |
reliefs in the third row arc inscribed as follows: `HENNING. F. / S / D';
|
| 4677 |
`HENNING F.1817 / ILW'; `8W/ 1819 LONDON / HENNING. F';
|
| 4678 |
`. . ORTH HENNING F LONDON 1820'. The four reliefs in the fourth
|
| 4679 |
row are stamped as follows: `D'; `E9 8 / HENNING. F'; `WI W2
|
| 4680 |
HENNING. F. May 2.1821'; `HENNING. F. PUB [thc remainder is
|
| 4681 |
illedble]' . The second of the four reliefs in the fifth row is unstamped,
|
| 4682 |
the others are stamped as follows: `HENNING / SID'; `E.11 HENNING
|
| 4683 |
F'; `HENNING 1817/ 14 W'. An old label on the back of the franc
|
| 4684 |
is inscribed in brown ink in a nineteenth-century hand: `ELectro
|
| 4685 |
type by Henning Copied from Bas reliefs (reduced) found in the
|
| 4686 |
ruins of the Temple of Apollo / Epicurus Built on Mount Cotylion
|
| 4687 |
at a distance from the ancient city / of Phigalia in Arcadia-this Bas
|
| 4688 |
relief is part of the Frieze in the interior / of the Cella / Presented by
|
| 4689 |
Mr Rind / 1854.'
|
| 4690 |
Given to the University in 1854 by `Mr Rand' (see above);
|
| 4691 |
transferred from the Department of Antiquities in 1962. If Mr
|
| 4692 |
Rand's Sft was to the University Galleries it was not recorded in
|
| 4693 |
the Donations Book. It may have been given to some omer
|
| 4694 |
institution within the University and subsequently deposited.
|
| 4695 |
The label on this franc of rclicfs is erroneous: all the retiefs
|
| 4696 |
are after the Parthenon ffieze in the British Museum and have
|
| 4697 |
bccn thoughtlessly assembled. The two duplicates make it
|
| 4698 |
unlikely that the frame rcprcscnts an oridnal set. The five
|
| 4699 |
reliefs in the first row are from the west frieze of the temple:
|
| 4700 |
slab V; slab IX; slab VII; slab IX; slab IX. The four reliefs in
|
| 4701 |
the second row are mostly from the north frieze: slab XIII;
|
| 4702 |
slab XVIII; slab V (from the west frieze, a duplicate of the
|
| 4703 |
first relief on the top row); slab XIV. The four reliefs in the
|
| 4704 |
third row are: south frieze, part of slab XXXVIII and slabs
|
| 4705 |
XLIII-XLIV; west frieze, slab XIV; west frieze, slab VIII;
|
| 4706 |
noith frieze, slabs XXII-XXIII. The four reliefs in the fourth
|
| 4707 |
row are: south frieze, slab XXXVIII; east ffieze, parts of slabs
|
| 4708 |
VI and VII; west frieze, slabs I-Ill; west friczc, slab Ill. The
|
| 4709 |
four reliefs on the fifth row are a duplicate of the first on the
|
| 4710 |
third row; east ffiezc, part of slab V; east frieze, part of slab
|
| 4711 |
VII; west ffieze, slab XIV.
|
| 4712 |
John Henning, the son of a carpenter and cabinet maker
|
| 4713 |
in Paisley, Scotland, was working as a wax modeller in 1799.
|
| 4714 |
He moved to Glasgow in 1801, to Edinburgh in 1803, to
|
| 4715 |
@@PROCESS
|
| 4716 |
100
|
| 4717 |
I.ondon in 1811, experimenting with paste and enamcls in
|
| 4718 |
emulation of his compatriot James Tassie. In London
|
| 4719 |
Hcnning started drawing from the Parthenon marbles and in
|
| 4720 |
1812, encouraged by Princess Charlotte, hc carved a miniature
|
| 4721 |
version of the friczc in ivory, restoring the fragmentary or
|
| 4722 |
abraded portions. He then made slate intaglios from which
|
| 4723 |
casts in white enamel and plaster could be made and by 1816
|
| 4724 |
proposed making casts in one of wcdgwood's wares (hc had
|
| 4725 |
earlier made contact with Wedgwood concerning the
|
| 4726 |
reproduction of his medallion portraits). The proprietors of
|
| 4727 |
the ivories, Earl Rosslyn, the marquess of Lansdowne, and
|
| 4728 |
Princess Charlotte, permitted this. Indeed the princess, who
|
| 4729 |
had herself portrayed by Hcnning in the attitude of one of
|
| 4730 |
the goddesses on the frieze, is said to have `luxuriated' in the
|
| 4731 |
idea of casts of the ivory frieze being `distributed among her
|
| 4732 |
fficnds'. The enamel and plaster reproductions, however, were
|
| 4733 |
undertaken on a highly commercial basis.
|
| 4734 |
A complete set was offered for 30 guineas. `It has been
|
| 4735 |
done to a scale of a twentieth of the originals; being two
|
| 4736 |
inches high, and twenty-four feet four inches long; published
|
| 4737 |
in six parts, from forty-six to fifty-four inches long, each part
|
| 4738 |
framed at length separately; they form elegant ornaments for
|
| 4739 |
a chimney-piece; or, fitted up in emulation of volumes, arc
|
| 4740 |
adapted to the library. Any part, or portions of a part, can be
|
| 4741 |
had separatcly', according to an advertisement of 18
|
| 4742 |
December 1820. Between 1820 and 1825 Henning also
|
| 4743 |
published casts of miniature reliefs he had made of the
|
| 4744 |
Phigalian frieze (see No. 521 ) and the Raphael cartoons. On
|
| 4745 |
10 August 1841 an advertisement announced that the price
|
| 4746 |
had bccn greatly reduced owing to piracy. The whole series
|
| 4747 |
in a mahogany cabinet with nine drawers was offered at 10
|
| 4748 |
guineas. On 27 November 1845 the publication by
|
| 4749 |
subscription of Frecbairn's contour engravings after
|
| 4750 |
Henning's reliefs was announced and the same advertiscmcnt
|
| 4751 |
mentions the genuine electrotypes made from the intaglios
|
| 4752 |
by `Mr Cox of Chapel Place Battersea Fields'. Despite these
|
| 4753 |
ventures and the commissions for stone carving shared with
|
| 4754 |
his son, John Henning the younger, for the exterior of the
|
| 4755 |
Hyde Park Screen, the Athenaeum in Ijondon, and the Royal
|
| 4756 |
Manchester Institution, Henning died in poverty. (Almost all
|
| 4757 |
the above information is drawn from J. Malden, /o4"
|
| 4758 |
Henning 1771-1851: t. . . a very ingenious Modeller' (FLerr£Iow
|
| 4759 |
District Council and Art Galleries, Paisley,1977). ) For the
|
| 4760 |
process of electrotyping (org#/p¢#ap/¢f£¢.A) in the last century
|
| 4761 |
see S. Bury, Vjcfor¢.¢» E/Gcfyop/¢£g (I.ondon,1971 ), 8.
|
| 4762 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4763 |
@@PROCESS
|
101
|
| 4765 |
|
| 4766 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4767 |
After John HENNING ( 1771-1851 )
|
| 4768 |
@@PROCESS
|
| 4769 |
521. Lapithae battling with
|
| 4770 |
Amazons and centaurs (from the
|
| 4771 |
Temple of Apollo at Bassae)
|
| 4772 |
Each piccc is 6.2 cms. high. The lengths of the pieces are as
|
| 4773 |
follows: (¢) 21.5 cms., (4) 23.9 cms., (c) 22.5 cms., (® 24.5 cms.,
|
| 4774 |
(G) 23.6cms., (/) 22.75 cms., ®) 24.5 cms., (47) 18 cms.,
|
| 4775 |
( ®.) 24.5 cms.
|
| 4776 |
Plaster of Paris with ingrained dirt and slight speckling from mould
|
| 4777 |
in a few areas. (a)-(/) and ®)-( S.) were framed under glass with a
|
| 4778 |
plain ebonizcd pine moulding as two continuous stripsrutn
|
| 4779 |
arrangement dating (to judge from old newspapers used as backing)
|
| 4780 |
from the last century. There are many breaks and missing chips as
|
| 4781 |
follows: (a) broken vertically in one place; chips missing from the
|
| 4782 |
projecting base; ( 4) chip missing from the projecting base; ( c) broken
|
| 4783 |
verdcally in one place; chips missing from the projecting base; ( dy
|
| 4784 |
broken vertically in one place; chips missing from the cdgc to proper
|
| 4785 |
right, the projecting edge, and along the break; (c) broken vertically
|
| 4786 |
in two places, of which that to proper right retains some old adhesive;
|
| 4787 |
chips missing from the projecting base, from the lower comer to
|
| 4788 |
proper right, and fi.om the proper left edge; (/) broken vertically in
|
| 4789 |
one place with remains of old adhesive; (g) broken vertically in two
|
| 4790 |
places; chips missing from the projecting edge and the shields; (A)
|
| 4791 |
broken vertically in one place and along two other lines to form
|
| 4792 |
two large and two small triangular pieces; chips missing from the
|
| 4793 |
two sides, the projecting edge, and along the breaks; ( ;) broken
|
| 4794 |
vertically in two places with other breaks au to the proper left-forming
|
| 4795 |
two large and four small pieces (and one piece missing);
|
| 4796 |
chips missing from proper right edge and from the breaks. In
|
| 4797 |
addition there is abrasion on some of the salient portions of the
|
| 4798 |
relief.
|
| 4799 |
@@PROCESS
|
| 4800 |
102
|
| 4801 |
On permanent loan from Trinity College, Oxford. The transfer of
|
these reliefs was arranged by the College archivist, Bryan Ward-
|
| 4803 |
Perkins, in the summer of 1987. The reliefs were presumably given
|
| 4804 |
to Trinity College in the nineteenth century.
|
| 4805 |
The nine plaster casts are taken from John Hcnning's
|
| 4806 |
miniature reproduction ( and restoration) of the ancient Greek
|
| 4807 |
ffieze of the Temple of Bassae (acquired for the British
|
| 4808 |
Museum in 1814). Hcnning's own casts are stamped with
|
| 4809 |
his name and with dates ( 1822 and 1823). It is possible that
|
| 4810 |
some casts, perhaps the earliest, before imitations appeared,
|
| 4811 |
were not stamped. The Ashmolean's casts, which are not
|
| 4812 |
stamped, may belong to this category: certainly their quality
|
| 4813 |
would be surprising in a pirated edition. For Henning's
|
| 4814 |
reproductions of antique fficzes generally scc No. 520. These
|
| 4815 |
rclicfs correspond as follows to the numbcrcd casts illustrated
|
| 4816 |
in I . Ma+den, John Henning 1771-1851.. t. . . a TJery ingeniotts
|
| 4817 |
A4lode//Gr' ( Renfrew District Council and Art Galleries, Paisley,
|
| 4818 |
1977), unpagivated: (¢) with number 8 (and (¢) is also
|
| 4819 |
scratched with an 8); (4) with numbers 9 and 10; (c) with the
|
| 4820 |
unnumbered first section; (d) with numbers 13 and 14, but
|
| 4821 |
more complete; (c) with the third piece down; (/) with
|
| 4822 |
numbers 11 and 12; ®) with part of number 18 and with
|
| 4823 |
number 19; (A) with number 18; (¢.) with number 20. The
|
| 4824 |
order in which the reliefs have bccn catalogucd here
|
| 4825 |
corresponds with that in which they wcrc framed in the last
|
| 4826 |
century. It is clear that it is most unlikely to reflect an
|
| 4827 |
arrangement made by Henning or by anyone familiar with
|
| 4828 |
the display in the British Museum.
|
| 4829 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4830 |
@@PROCESS
|
103
|
| 4832 |
|
| 4833 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4834 |
After designs by Thomas HOPE ( 1769-1831 )
|
| 4835 |
@@PROCESS
|
| 4836 |
522 and 523. Pair of hall tables
|
| 4837 |
( only one illustrated)
|
| 4838 |
79.5 cms. (height); 62.4 cms. (width of supports); 2.6 cms.
|
| 4839 |
(height of slabs); 133.6 cms. (length of slabs); 64.8 cms. (width
|
| 4840 |
of slabs)
|
| 4841 |
Mahogany. The `marble' slab is of green porphyry. The cross rail is
|
| 4842 |
a later addition. Some of the relief ornament on the scroll-shaped
|
| 4843 |
supports is applied*.g. the palmctte above and the honeysuckle
|
| 4844 |
below, also the innermost relief lines-and pieces of this have been
|
| 4845 |
replaced. The tables are placed upon modern marquetry plinths.
|
| 4846 |
Bought at The Deepdene Sale, Christie's, July-August 1917, lot
|
| 4847 |
@@PROCESS
|
| 4848 |
827, for £50. The tables were designed by Thomas Hope before
|
| 4849 |
1807, probably first employed in Duchess Street, IJ)ndon, and
|
| 4850 |
subsequently moved to The Deepdene near Dorking (acquired by
|
| 4851 |
Hope in May 1807 and extensively redecorated over the fouowing
|
| 4852 |
fifteen years).
|
| 4853 |
ThorrL2Ls Hope:' s Household Fttrmitt4re and 17iterior
|
| 4854 |
DGco7t¢f¢.a", published on I May 1807, recorded the furniture
|
| 4855 |
which he had had made for his house in Duchess Street-a
|
| 4856 |
house which was also a museum and in which he hoped that
|
| 4857 |
the `entire assemblagc' of the `productions of ancient art and
|
| 4858 |
of modern handicraft' would b€ harmonious (ibid. 34). The
|
| 4859 |
furniture was therefore modelled on antique Egyptian, Greek,
|
| 4860 |
and Roman examples. In this case the mahogany is treated
|
| 4861 |
much as the Romans treated a dark marble such as roj:fo ¢„f¢.co.
|
| 4862 |
And indeed the chief source for the design ofthc scrou supports
|
| 4863 |
with lion's paw feet must be the ancient bath made of this
|
| 4864 |
material known as the tomb of Marcus Agrippa, long visible
|
| 4865 |
in the portico of the I'anthcon, but incorporated in the 1730s
|
| 4866 |
into the tomb of Pope Clement XII in the Corsini Chapel in
|
| 4867 |
the Basilica of SS Giovanni e Paolo. This had already inspired
|
| 4868 |
not only numerous sarcophagi but the severe modern benches
|
| 4869 |
dc§igncd by Robert Adam for the mausoleum at Bowood in
|
| 4870 |
the early 1760s. Another source may have been the rt)JJo
|
| 4871 |
¢"£2.co bath chair in S. Giovanni in Laterano, Rome
|
| 4872 |
(presumably the `red marble throne in the Vatican' to which
|
| 4873 |
DaiNid`Nairkin rofcrs in Thomas Hope and the Nco-classical
|
| 4874 |
Jde¢ (I.ondon, 1968), 200). It would sccm unlikely, however,
|
| 4875 |
that these antique sources were the only inspiration for Hopc's
|
| 4876 |
design. Such scroll-shaped supports were also popular for
|
| 4877 |
Florentine tables of the mid-sixteenth century (a fine example
|
| 4878 |
was in the Bardini Collection and another is in the Leipzig
|
| 4879 |
Museum, both illustrated in F. Schottmuller, I owob¢./¢. G
|
| 4880 |
l'abitaeione del Rina§cimento in Italia (S"ttgart, L928),
|
| 4881 |
pis. 300 and 308, pp.133 and 137). Furthcrmorc earlier neo-classical
|
| 4882 |
dcsigncrs had revived this type of table. C. Percier
|
| 4883 |
and P. L. Fontainc's Rcc#c¢./ def de'cor¢fG.o„j (Paris, 1801 )
|
| 4884 |
includes a very similar table in the perspective of the bedroom
|
| 4885 |
of Citizen V.
|
| 4886 |
The green Egyptian poaphyry of which the slabs are
|
| 4887 |
composed is a rare antique material, with a sombre beauty
|
| 4888 |
appropriate to Hopc's scvcrc taste, which he must have
|
| 4889 |
acquired from Rome where they had no doubt been cut from
|
| 4890 |
@@PROCESS
|
| 4891 |
104
|
| 4892 |
the ccntrc of a column shaft (for an account of this stone see
|
| 4893 |
R Gnoli, A4:¢7'7¢¢o7i¢ Ro7"¢„¢ (Rome,1971 ),108-9).
|
| 4894 |
If the line engravings in Ho#£efo/d F#r"¢.f#yc which
|
| 4895 |
published these tables are reliable (pl. 12, nos. 6 and 7) then
|
| 4896 |
the tables origivally stood on plinths higher than those with
|
| 4897 |
which they are at present provided, and there was no stretcher
|
| 4898 |
between the supporting members: indeed the space below the
|
| 4899 |
table was occupied by one of the larger Greek vases in Hope's
|
| 4900 |
collection. The oriSnal absence of a stretcher may rcflcct the
|
| 4901 |
designer's lack of practical experience, neglecting to take the
|
| 4902 |
weight of the slab into account. In his preface Hope mentions
|
| 4903 |
that in the `vast metropolis' of I.ondon so `teeming with
|
| 4904 |
artificcrs' he had met with hardly any craftsmen capable of
|
| 4905 |
executing his ideas rchably: he cites a French bronzist, Decaix,
|
| 4906 |
and a carver from the Ijow Countries, Bogaert, however, and
|
| 4907 |
conceivably the table was made in the latter's workshop.
|
| 4908 |
C. F. Bell bought the tables for use in the galleries and they
|
| 4909 |
were fitted, probably under his Kcepership, with brass-framed
|
| 4910 |
glass cases made by the firm of Frederick Sage and Company
|
| 4911 |
in which a sclcction of the Fortnum bronzes were long
|
| 4912 |
displayed. These cases were removed in 1986. Bell mentioned
|
| 4913 |
in the A""„¢/ RGPo77 ( 1917: 6J9) that the tables would
|
| 4914 |
provide `hints' for the making of appropriate new fumiturc
|
| 4915 |
for the galleries. They must indccd have inspired the oak
|
| 4916 |
cases with scroll legs now employed for displaying drawings
|
| 4917 |
in the Combe Gallery (acquired in 1988 from the Taylor
|
| 4918 |
Library, to whom they had been transferred from the Bodleian
|
| 4919 |
Library who had obtained them from the Department of
|
| 4920 |
Antiquities to which they had migrated from the Department
|
| 4921 |
of Fine Art for which they were origivally made under Bell's
|
| 4922 |
directions).
|
| 4923 |
In addition to the two tables, Bell acquired from The
|
| 4924 |
Decpdcne sale (as lot 919) four sabre leg chairs with lyre-shaped
|
| 4925 |
splats, in `bois clair' with honeysuckle and other
|
| 4926 |
stylized inlay, also made to Hope's designs (Appendix 2, nos.
|
| 4927 |
68-71 ). In 1953 Lady Henriques bequeathed to the Museum
|
| 4928 |
a large group of furniture which included a massive sideboard,
|
| 4929 |
@@PROCESS
|
| 4930 |
298 cms. long, of solid mahogany with four ormolu wreaths
|
| 4931 |
on a frieze above four cabriole legs with hon's paws, reedcd
|
| 4932 |
anklets, and honeysuckle ornaments on the `knees' which was
|
| 4933 |
one of a pair made for Gloucester House, Park I.arc, the
|
| 4934 |
Ijondon home of the duke of Cambridge (the pair, belongivg
|
| 4935 |
to the testator's sister, was destroyed in the Blitz). This,
|
| 4936 |
although not designed by Hope, is close in style to the
|
| 4937 |
furniture of Duchess Strcct (Appendix 2, no. 73).
|
| 4938 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4939 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4940 |
Probably foundry of samuel Packer,12 Argyll Place, Ijondon
|
| 4941 |
After Samuel JOSEPH ( 1791-1850)
|
| 4942 |
@@PROCESS
|
| 4943 |
524. High-relief bust portrait of sir
|
| 4944 |
Walter Scott
|
| 4945 |
21.4 cms. (height of bust); 25.5 cms. (diameter of backplate)
|
| 4946 |
Bronze with a very dark slightly olive patina. The bust is hollow cast
|
| 4947 |
and soldered to the backplate. `SIRWALTER SCoTT' is chiselled in
|
| 4948 |
capital letters beneath the bust on the plate ground. On the reverse
|
| 4949 |
of the plate is engraved in very florid letters `S. Joseph RS.A.
|
| 4950 |
Sculpsit. / 1822 / Publishq 1830.'
|
| 4951 |
The bronze is kept in the Hebcrden Coin Room as part of the
|
| 4952 |
collection purchased from Colonel Michael H. Grant in 1953. It is
|
| 4953 |
included in his manuscript catalogue on p.156.
|
| 4954 |
Joseph was a foundation member of the Royal Scottish
|
| 4955 |
Academy: hence the RSA. The bust of Scott dates from the
|
| 4956 |
year of his move to Edinburgh in 1822. A bust by him of
|
| 4957 |
Scott (character and medium unrecorded) is said to be at
|
| 4958 |
Preston Hall, near Edinburgh, and to be dated 1825 (R.
|
| 4959 |
Gunnis, Dictionary Of British Sculptors (-Icondon, +968) 222).
|
| 4960 |
By 1830 Joseph had returned to Ijondon. The attribution of
|
| 4961 |
the cast to Parker's foundry depends upon its similarity to
|
| 4962 |
No. 525 which may well have been intended as a companion
|
| 4963 |
(Mackenzie and Scott being the most eminent Scottish
|
| 4964 |
authors of the day).
|
| 4965 |
@@PROCESS
|
| 4966 |
106
|
| 4967 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 4968 |
Foundry of samuel Parker,12 Argyll Place, London
|
| 4969 |
After Samuel JOSEPH (1791-1850)
|
| 4970 |
@@PROCESS
|
| 4971 |
525. High-relief bust portrait of
|
| 4972 |
Henry Mackenzie
|
| 4973 |
20.5 cms. (height of bust); 25.5 cms. (diameter of backplatc)
|
| 4974 |
Bronze with a very dark slightly olive patina. The bust is hollow cast
|
| 4975 |
and soldered to the backplatc. There are small firing cracks in the
|
| 4976 |
lower part of the neck and minor scratches to the back plate. `HENRy
|
| 4977 |
MACKENZIE' is chise[led in capital letters beneath the bust on the
|
| 4978 |
plate ground. On the reverse of the plate are engraved in neat capital
|
| 4979 |
letters: `SAML JOSEPH SCULPSIT / S. PARKER FECIT XIT ARGYLL
|
| 4980 |
PIACE / PUBLISHD / AS THE ACT DIRECTS / LONDON FEBY
|
| 4981 |
VI. / MDCCCXXX' .
|
| 4982 |
The bronze is kept in the Heberden Coin Room as part of the
|
| 4983 |
collection of medals purchased from Colonel Michael H. Grant in
|
| 4984 |
1953. It is included in his catalogue on p.153.
|
| 4985 |
There is a bust of the Scottish novelist and man of letters
|
| 4986 |
Henry Mackenzic ( 1745-1831 ) by Joseph at the Scottish
|
| 4987 |
National Portrait Gallery which is dated 1822 (R. Gunnis,
|
| 4988 |
Dictionary Of British Sculptors (London, ±968), 222) .I+ is
|
| 4989 |
similar to this but undrapcd and differently cut at the
|
| 4990 |
shoulders. By 1825 a bust of Mackenzie by Joseph belonged
|
| 4991 |
to Sir Walter Scott at Abbotsford (C. Wainwright, 777c
|
| 4992 |
Ro7„¢#£¢.c J»£Gr¢.or (London and New Haven, Conn.,1989),
|
| 4993 |
@@PROCESS
|
| 4994 |
190). 1822 is also the year in which Joseph exhibited a `model
|
| 4995 |
for a bust to be worked in marble' of Mackenzie at the Royal
|
| 4996 |
Academy (no.1044). The portrait of scott reproduced in a
|
| 4997 |
simhar bronze cast which is also dated 1830 (No. 524)
|
| 4998 |
perhaps also originated in a model of 1822. Little is known
|
| 4999 |
of the bronze founder Packer. He was paid in 1822 for a
|
| 5000 |
sumptuous chimney-piece in the Royal Pavilion, now at
|
| 5001 |
Buckingham Palace, involving ormolu enrichments and
|
| 5002 |
Chinese figures of painted metal (Gunnis, op. cit. 291 ). His
|
| 5003 |
smau bronze herm busts of I.ord Brougham and William IV
|
| 5004 |
both published in 1831 are in the National Portrait Gallcry-another
|
| 5005 |
version of the latter was lot I, Christie's, London, 5
|
May 1988.
|
| 5007 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5008 |
Samuel JOSEPH ( 1791-1850)
|
| 5009 |
@@PROCESS
|
| 5010 |
526. Sir David Wilkie
|
| 5011 |
68 cms. (height, including plinth)
|
| 5012 |
Plaster of Paris, coated with shellac and grey paint. Hollow cast.
|
| 5013 |
The paint has flaked in some areas, most notably on the proper
|
| 5014 |
right foot and the front of the plinth. A part of the palette has been
|
| 5015 |
broken off and refixed but small chips are missing. There is another
|
| 5016 |
break diagonally across the plinth from beside the proper right foot
|
| 5017 |
to the centre of the back.
|
| 5018 |
Presented in 1952 by Sir Malcolm Darling of 42 Catherine Place,
|
| 5019 |
Ijondon Swl. Registered on 16 April. It was probably inherited
|
| 5020 |
from the donor's grandfather Dr George Darling (d.1862), who
|
| 5021 |
counted Wilkie and other artists (among them Haydon, I.awrence,
|
| 5022 |
and Chantrey) among his ffiends and patients.
|
| 5023 |
Joseph exhibited a posthumous marble bust of wilkic, a fellow
|
| 5024 |
Scot, at the Royal Academy exhibition of 1843 (no.1515).
|
| 5025 |
This is now in the Scottish National Portrait Gallery
|
| 5026 |
(no.1220). In the following year the colossal bronze statue
|
| 5027 |
of wilkic by him was presented by subscribers to the National
|
| 5028 |
Gallery-this was transferred to the Tate Gallery (no.1764)
|
| 5029 |
where it is in store. The commission for this bronze is
|
| 5030 |
dcscribcd in an appendix to Alan Cunningham's I,¢re a/S¢.7'
|
| 5031 |
D¢p¢.¢ WG./fe;c (I.ondon,1843), iii. 516-23. He quotes from
|
| 5032 |
the 44lo7w¢.#g C¢ro"¢.c/;s account of the meeting on 28 August
|
| 5033 |
1841 at the Thatched House Tavern at which a committee
|
| 5034 |
was fomed to erect a monument. Cunningham was
|
| 5035 |
appointed secretary. A footnote on p. 523 informs us that `at
|
| 5036 |
a subsequent meeting Mr S. Joseph, not without opposition,
|
| 5037 |
was selcctcd to execute the statue, the trustees of the National
|
| 5038 |
Gallery having consented to its erection in their entrance
|
| 5039 |
hall'. The plaster probably records the prclininary clay model
|
| 5040 |
made for the committee's approval.
|
| 5041 |
REiH±HI
|
| 5042 |
@@PROCESS
|
| 5043 |
108
|
| 5044 |
Eric RENNINGTON RA ( i888-1960)
|
| 5045 |
@@PROCESS
|
| 5046 |
527. Head from the portrait of
|
| 5047 |
Thomas Hardy
|
| 5048 |
31 cms. (height)
|
| 5049 |
Bronze with a chestnut patina rubbed to a yellow brown in the
|
| 5050 |
eyebrows and on the bridge of the nose. Hollow, lost-wax, cast.
|
| 5051 |
Given by the artist at an unrecorded date.
|
| 5052 |
The portrait is cut off uncompromisingly at the shirt collar to
|
| 5053 |
emphasize that it is a fragment of a full-length statue. It must
|
| 5054 |
indeed bc cast from the same model as the statue of Hardy
|
| 5055 |
unveiled on Sunday 2 September 1931 at Top o' Town,
|
| 5056 |
Dorchestcr, by Sir James Barrie, a work erected by public
|
| 5057 |
subscription ( supported by the mayor of Dorchester,
|
| 5058 |
Alderman Wilfrid F. Hodges, with a committee chaircd by
|
| 5059 |
the countess of Ilchestcr). Kennington was at this date at the
|
| 5060 |
height of his fame, having excited attention with his war
|
| 5061 |
memorial erected in Battersea Park in 1924, and obtained
|
| 5062 |
the commission for allegorical scenes on the fa€ade of the
|
| 5063 |
Royal Shakespeare Theatre at Stratford-upon-Avon, a work
|
| 5064 |
upon which he was engaged between 1928 and 1932.
|
| 5065 |
Kennington had placed a plaster cast of his recumbent effigy
|
| 5066 |
of Lawrence of Arabia for St Martin's, Wareham, on
|
| 5067 |
temporary loan in the Museum during the winter of 1939
|
| 5068 |
(A„""a/ Rcpo77, 36). Ion Robcrtson applied in vain to the
|
| 5069 |
National Art-Collections Fund in October 1963 for funds to
|
| 5070 |
purchase, from the Leicester Gallery, a bronze cast (one of
|
| 5071 |
an edition of 12) of a maquette for the same effigy.
|
| 5072 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5073 |
A. KENRICK (dates unknown)
|
| 5074 |
@@PROCESS
|
| 5075 |
528. Profile medallion head of
|
| 5076 |
Queen Victoria
|
| 5077 |
24.5 cms. (height); 38.5 cms. (diameter of backplate)
|
| 5078 |
The head is of iron with a slightly rusty surface. It is a heavy sand-cast,
|
| 5079 |
probably hollow on the reverse. The head is bolted to a
|
| 5080 |
polished bronze backplate with a high polish which has been slightly
|
| 5081 |
scratched. This has bccn coarsely palntcd in large black capitals on
|
| 5082 |
its reverse `BY / A. KENRICK / BIRM: ' .
|
| 5083 |
The sculpture is kept in the Heberden Coin Room as part of the
|
| 5084 |
collection of colonel Michael H. Grant, purchased in 1953.
|
| 5085 |
In Britain during the nineteenth century there were numerous
|
| 5086 |
attempts at casting in iron sculpture which would normally
|
| 5087 |
have been reproduced in bronze, but few of these casts even
|
| 5088 |
approached the quality associated with the royal foundry in
|
| 5089 |
Berlin and certainly this portrait, presumably dating from the
|
| 5090 |
last three decades of the century (to judge by the appearance
|
| 5091 |
of the queen), is as dull as a cast as it is routine as a model.
|
| 5092 |
It is dated to 1887 in Grant's manuscript catalogue (p.185).
|
| 5093 |
@@PROCESS
|
109
|
| 5095 |
|
| 5096 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5097 |
Bryan ENEALE (b.1930)
|
| 5098 |
@@PROCESS
|
| 5099 |
529. Trio
|
| 5100 |
15.I cms. (length)
|
| 5101 |
Bronze with a mottled brown to yellow patina. Unique solid cast,
|
| 5102 |
sawn and reassembled. The cut surfaces retain the tcxturc of the
|
| 5103 |
saw. The curved outer surfaces retain evidence of the rotatory
|
| 5104 |
polisher. Stanpcd `B.K.' in an irregular portion of inserted metal
|
| 5105 |
on the outside of the smallest of the three principal pieces.
|
| 5106 |
From the collection of Christopher Hewett ( 1938-83). Given to
|
| 5107 |
the museum by his family in June 1985 and included in the
|
| 5108 |
exhibition celebrating the Sft held in the MCAlpinc Gallery in January
|
| 5109 |
and February 1987. Kneale had exhibited nineteen sculptures at the
|
| 5110 |
Taranman Gallery in June and July 1977.
|
| 5111 |
Kneale stopped work as a painter in 1959 and, after learning
|
| 5112 |
to weld, moved to a forge in Fulham in 1960, and began to
|
| 5113 |
make abstract sculpture, working directly and with the latest
|
| 5114 |
technology in stccl, and subsequently brass, gunmetal, and
|
| 5115 |
bronze. Notes made at the time the Hewett Collection was
|
| 5116 |
first discussed dated this work to 1979. There is an instructive
|
| 5117 |
interview between the artist and Bryan Robertson pubhshed
|
| 5118 |
in the catalogue of the exhibition Bry KceG¢/G.. Sc#/Pf#7icf
|
| 5119 |
J959-j966 at the Whitcchapel Art Gallery 1966 and a profile
|
| 5120 |
of the sculptor by John Spurling entitled `Working from
|
| 5121 |
Within' appeared in RA, the magazine of the Friends of the
|
| 5122 |
Royal Academy (Sept. 1988), 27-8.
|
| 5123 |
Ilo
|
| 5124 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5125 |
LEEDS POTTERY (Hartley, Greens and Co. )
|
| 5126 |
@@PROCESS
|
| 5127 |
530 and 531. Pair of vase
|
| 5128 |
candlestands
|
| 5129 |
31.7cms. (height of both); 16.6cms. (length from nose to nose
|
| 5130 |
of hcrm maidens); 8.9 cms. (length and width of plinths)
|
| 5131 |
Creamware with a glaze, which is green where gathered in the swags
|
| 5132 |
and at the top of the stems (especially on 530). Each vase was
|
| 5133 |
assembled from five separately cast components before firing: the
|
| 5134 |
plinth (closed when inspected from below); the stem; the body of
|
| 5135 |
the vase (made from two large and two small moulds-the smaller
|
| 5136 |
ones comprising the two maidens); the domed cover; the terminal
|
| 5137 |
ball knob. The wings of the maidens and the cinquefoil rosettes on
|
| 5138 |
the projections of the comers of the plinth were separately modelled
|
| 5139 |
and applied before firing. Each vase has two square slots behind the
|
| 5140 |
necks of the maidens. The aperture is approximately I cm. square
|
| 5141 |
and continues for about 3 cms. before entering the hollow body of
|
| 5142 |
the base. There are minute chips missing from the end of the proper
|
| 5143 |
left wings of one of the maidens on No. 531 and from one corner
|
| 5144 |
of the plinth of the other. There is a minute firing crack in the
|
| 5145 |
cheek of one of the maidens on No. 531 and a crack in the neck of
|
| 5146 |
one of the maidens on the other. On both vases vestigial seams may
|
| 5147 |
be discerned on the stem and its base moulding and down the arms
|
| 5148 |
of the maidens. The vases are incised inside the plinths with a `1'
|
| 5149 |
(a slight tall attached) and a `6' (possibly a `9'). `C. /467/ G' and
|
| 5150 |
`C. / 468 / G' is written in black paint in both.
|
| 5151 |
I,cnt by C. D. E. Fortnum in October 1894 and bequeathed in
|
| 5152 |
1899. C. 467 and C. 468 in his catalogues. No provenance or date
|
| 5153 |
of acquisition is given in his catalogues but the vases seem to have
|
| 5154 |
been acquired after 1857 when the preliminary catalogue, in which
|
| 5155 |
they are not included, was compiled.
|
| 5156 |
Fortnum regarded these vases as `Roman Volpato about 1800'
|
| 5157 |
although he was aware of a connection with a British ceramic
|
| 5158 |
factory, noting in his large catalogue `The form is copied or
|
| 5159 |
adapted from a Chelsca modcl'. C. F. Bell annotating the
|
| 5160 |
large catalogue observed that
|
| 5161 |
the form, whatever its origin, was copied both at Derby-in
|
| 5162 |
porcelain-nd at I,eeds in pottery. Sir Wollaston Franks did not
|
| 5163 |
feel sure that they were Italian, did not see any reason why they
|
| 5164 |
should not be English. The exact resemblance of the glaze, with
|
| 5165 |
the strongly marked greenish tinge visible where it has coagulated,
|
| 5166 |
to that upon the group of st. Joseph is however in favour of these
|
| 5167 |
having been made at Volpato's factory.
|
| 5168 |
The resemblance to the Sf/ofcp¢ (No.107 and marked as by
|
| 5169 |
Volpato) is indccd remarkable. `Professor Church', Bell
|
| 5170 |
continues, `carefully examining (February 1903 ) the similar
|
| 5171 |
vase in the V 8c A and yet another of the same pattern sold
|
| 5172 |
as Liverpool ware at Christic's (Feb. 27 1903) expressed a
|
| 5173 |
decided opinion that they were of inferior quality, from a
|
| 5174 |
technical point of view, to English work giv were probably all
|
| 5175 |
of Roman manufacture.' Church was wrong, however, and
|
| 5176 |
Bell, in his H¢»dhoofe G„¢.de of 1909 (p. 99), described the
|
| 5177 |
vases as `probably English, Staffordshirc or Yorkshire make'.
|
| 5178 |
The vase in the Victoria and Albert Museum (838-1870),
|
| 5179 |
Which matches the Ashmolean's vases in every respect except
|
| 5180 |
the green tinge to the daze, is marked LP for Leeds Pottery
|
| 5181 |
and the model appears in the Lccdr Po#Gry P4r#Grce Boofe (first
|
| 5182 |
edition of 1783nd; no.116 in the edition of 1794), as well as
|
| 5183 |
in the albums of drawings kept by the pottery, as is recorded
|
| 5184 |
in the entry for the vase of this type (perhaps the one sold at
|
| 5185 |
Chistie.s .\n \903) .in the Catalo2que Of creammare and Other
|
| 5186 |
English Pottery at Tem2le Non!sam Hott§e, Ijeedsdy Pevf=[
|
| 5187 |
Walton (Bradford and I.ondon, 1976), 126-7, no. 489.
|
| 5188 |
In none of the four recorded versions of the vase have the
|
| 5189 |
slender S-curved branches of twisted form supporting fluted
|
| 5190 |
nozzles illustrated in the 1794 catalogue survived. They would
|
| 5191 |
have been fitted into the slots behind the winged maidens'
|
| 5192 |
necks. Such fragile projections and the relative lightness of the
|
| 5193 |
supporting body make the whole conception somewhat
|
| 5194 |
unsuitable for its purpose and strongly suggest its derivation
|
| 5195 |
from a model in stone and ormolu. The terminal maidens
|
| 5196 |
and indeed the band of anthemion suggest Slt ornaments
|
| 5197 |
applied to and apparently clasping a solid body of white
|
| 5198 |
marble or blue-john. The idea of a vase which served also as
|
| 5199 |
a candlestand was very popular with Matthew Boulton and
|
| 5200 |
the ultimate source for these Leeds vases may well be the
|
| 5201 |
`Caryatid Vases' in blue-john and ormolu which his Soho
|
| 5202 |
factory made in the early 1770s. The same form of handle is
|
| 5203 |
used in Derby porcelain, most notably in the Gibraltar Vase
|
| 5204 |
of c.1785, and on agate ware vases of chalice form impressed
|
| 5205 |
`WEDGW00D'-xamples are in the Brighton Art Gallery
|
| 5206 |
and Museum and in the City Art Gallery and Museum,
|
| 5207 |
Birmingham (2809.'85)-and on black basaltcs vases of
|
| 5208 |
similar egg form, but not designed for candles, impressed
|
| 5209 |
`WEDGWOOD AND BENTLEY'-xamples are also in
|
Birmingham ( 1761.'80 and 2746.'85).
|
| 5211 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5212 |
@@PROCESS
|
| 5213 |
112
|
| 5214 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5215 |
Unknown foundry
|
| 5216 |
After Frederick, I.ord LEIGHTON, PRA ( 1830-96)
|
| 5217 |
@@PROCESS
|
| 5218 |
532. Athlete stniggling with a
|
| 5219 |
python
|
| 5220 |
54.3 cms. (height including integral bronze plinth); 4.5 cms.
|
| 5221 |
(height of plinth); 29.5 cms. (length of plinth); 20.7 cms. (width
|
| 5222 |
of plinth)
|
| 5223 |
Bronze with a dark green and brown patina. Hollow, sand-cast. No
|
| 5224 |
joins are apparent. `F. LEIGHTON 1877' is chiselled on the proper
|
| 5225 |
left face of the bronze plinth.
|
| 5226 |
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
|
| 5227 |
No. 33 in the receipt prepared by Andrew Shirley in January 1927,
|
| 5228 |
as `Hercules struggling with a Cobra'.
|
| 5229 |
It is not certain when I.cighton began to make small clay
|
| 5230 |
skctchcs in preparation for his large figure compositions, but
|
| 5231 |
the group of studies for his painting D#phacp4ori¢ (Ledy
|
| 5232 |
Ijcver Art Gallery, Port Sunlight) of 1874nd arc the earliest
|
| 5233 |
sculptures by him to have survived. The idea of this figure of
|
| 5234 |
the A£4/GfG is said to have come to him at that date-perhaps
|
| 5235 |
with the heroic nude male struggling with snakes in the
|
| 5236 |
foreground of Titian's B¢cc¢G¢f ¢»¢ Ar¢.¢¢„c in the National
|
| 5237 |
Gallery half in mind. He made a sketch about 9± inches high
|
| 5238 |
of which several casts in plaster and bronze survive (one such
|
| 5239 |
in plaster is in the Victoria and Albert Museum, A. 38-1954).
|
| 5240 |
Jules Dalou (see Nos. 269-73) who had suddenly shot to
|
| 5241 |
fame in England encouraged Leighton to execute the figure
|
| 5242 |
life-size. The model was prepared over the winter of 1874-
|
| 5243 |
5, using Angelo Colorossi as model, in the studio of Thomas
|
| 5244 |
Brock, a protege of Leighton, who gave some assistance. This
|
| 5245 |
large version was cast in bronze in December 1876 and
|
| 5246 |
exhibited at the Royal Academy in the following summer
|
| 5247 |
when it was purchased for the Tate Gallery out of the Chantrey
|
| 5248 |
Bequest (No.1754, on loan to Leighton House). The bronze
|
| 5249 |
was shown at the International Exhibition in Paris in 1878
|
| 5250 |
and awarded a Gold Medal. A marble version of the origival
|
| 5251 |
plaster was presented to the Royal Academy in 1886. The
|
| 5252 |
bronze reductions seem to have been made in large numbers
|
| 5253 |
and arc in many public collections including the Walker Art
|
| 5254 |
Gallery, Liverpool, the City Art Gallery, Birmingham, and
|
| 5255 |
the National Museum of wales. (See R and L. Ormond,
|
| 5256 |
Io7id lrf?¢j¢fo„ (New Haven, Conn., and London,1975),
|
| 5257 |
@@PROCESS
|
| 5258 |
934, 162-3; S. Beattie, 7%e N¢ia7 Sc#/Pf„7.c (New Haven,
|
| 5259 |
Conn., and I.ondon,1983), 260, n. 53.) Some of the casts
|
| 5260 |
arc chiselled not only with the artist's mmc and the date, as
|
| 5261 |
here, but with a Roman numeral and the following `puBD By
|
| 5262 |
ERNEST BROWN & PHILLIPS / AT THE LEICESTER GALLERIES
|
| 5263 |
LEICESTER/ SQUARE, LONDON.' (See for instance Christie's,
|
| 5264 |
London, 25 Scptcmbcr 1986, lot 173, numbered XXVI,
|
| 5265 |
subsequently with the dealer Peter Nahum of 5 Ryder Street. )
|
| 5266 |
A plaster version of no special quality but inscribed `Given to
|
| 5267 |
me by Leighton about two months bcforc he dicd', followed
|
| 5268 |
by the monogram of Thomas Armstrong the painter, was lot
|
| 5269 |
@@PROCESS
|
| 5270 |
230 at Sothcby's, I.ondon, 16 December 1987.
|
| 5271 |
@@PROCESS
|
113
|
| 5273 |
|
| 5274 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5275 |
Foundry of J. W. Singer and Son, Frome, Somcrset
|
| 5276 |
After Frederick, Ijord LEIGHTON, PRA ( 1830-96)
|
| 5277 |
@@PROCESS
|
| 5278 |
533. The Sluggard
|
| 5279 |
52.2 cms. (height including integral plinth); 3.5 cms. (height of
|
| 5280 |
plinth); 16.5 cms. (length of plinth); 14.7cms. (width of plinth)
|
| 5281 |
Bronze with a chestnut to dark brown patina. Hollow, sand-cast.
|
| 5282 |
The separately cast plinth reveals when reversed the iron armature
|
| 5283 |
from the interior of both legs. `THE sLUGGARD' is chisellcd on the
|
| 5284 |
front face of the bronze plinth. `FoUNDED By I. W. slNGER &
|
| 5285 |
SoNS / FROME SoMERSET.' is chiselled on the proper left face of the
|
| 5286 |
bronze plinth. `Fred Leighton' is incised in the model across the
|
| 5287 |
proper right back comer of the plinth on the upper surface.
|
| 5288 |
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
|
| 5289 |
No. 32 in the receipt prepared by Andrew Shirlcy in January 1927,
|
| 5290 |
as `A Statuette Nude Male standing stretching his arms . . . by Fred
|
| 5291 |
Leighton.'
|
| 5292 |
Ijci\givton' s Athlete avdeening fhom sleeping (to give it its
|
| 5293 |
origival title), said to have origivated in the sight of his model
|
| 5294 |
Giuseppe Valona stretching after a sitting, existed as a model
|
| 5295 |
by 1882 but was only exhibited as a life-size figure at the
|
| 5296 |
Royal Academy in 1886 (no.1921). The origival plaster
|
| 5297 |
(perhaps the figure then exhibited) was prescntcd to the
|
| 5298 |
Royal Academy by the artist's sisters in 1896. A bronze cast
|
| 5299 |
was acquired at the artist's studio sale (8-10 July 1896, lot
|
| 5300 |
@@PROCESS
|
| 5301 |
107b) by Henry Tatc and presented to the Tate Gallery. It is
|
| 5302 |
now on loan to Leighton House. (R and L. Ormond, Iond
|
| 5303 |
@@PROCESS
|
| 5304 |
114
|
| 5305 |
I€¢j¢fo# (New Haven, Conn., and I.ondon,1975),167.)
|
| 5306 |
The statuette reproduces a `rough sketch in plaster' perhaps
|
| 5307 |
of 1882. The edition must have bccn very large and versions
|
| 5308 |
are very common. Many arc chiscllcd `Publishcd by Arthur
|
| 5309 |
Leslie Collie / 398 Old Bond Strcct London' with the dates
|
| 5310 |
6 May 1889 and 1 May 1890, as well as with the name of
|
| 5311 |
Singer's foundry. Collie evidently sold the copyright to the
|
| 5312 |
founders whose catalogue, of about 1914, fcaturcs a cast
|
| 5313 |
`from the signed model, by the late I.ord I.cighton, of which
|
| 5314 |
wc hold the copyright' (cited by S. Bcattic, T77e N,ov Sc#/pf#7c
|
| 5315 |
(New Haven, Conn., and I.ondon, 1983), 260 n. 59). When
|
| 5316 |
the founder's name only appears, thcrcfore, as in this case, the
|
| 5317 |
cast is likely to be later. A cast stamped `M' and given by
|
| 5318 |
Morris Singer to a friend in 1936 was sold at Sothcby's,
|
| 5319 |
I.ondon, 16 December 1987. It is possible that casts were
|
| 5320 |
still being made at that date. An idea of what was considered
|
| 5321 |
as an appropriate setting and pedestal for the figure may be
|
| 5322 |
obtained from an illustration to an article by Edmund Gosse
|
| 5323 |
on small domestic bronzes in A4l¢g¢z¢.72e a/47? ( 1895), 372
|
| 5324 |
(reproduced in S. Beattie, op. cit. 190). The patina of this
|
| 5325 |
bronze is often a very pale golden brown as in the version in
|
| 5326 |
the Victoria and Albert Museum (820-1901). The
|
| 5327 |
personification of sculpture in Brock's monument to Ileighton
|
| 5328 |
in St Paul's Cathedral holds a diminutive version of this
|
| 5329 |
figure.
|
| 5330 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5331 |
Richard Cockle LUCAS ( 1800-83)
|
| 5332 |
@@PROCESS
|
| 5333 |
534. Bust portrait of a boy
|
| 5334 |
33 cms. (height); 9 cms. (height of socle)
|
| 5335 |
Wax, ivory in colour on the chest but yellow on much of the face.
|
| 5336 |
Thcrc are cracks across the proper right side of the chest and the
|
| 5337 |
neck. The bust has also been broken into pieces and rejoined with
|
| 5338 |
a ccmcnt some of which has fallen out-the lines of the join are
|
| 5339 |
clear in front of the proper left ear and into the hair, also behind
|
| 5340 |
the neck and in the hollow behind the chest. The surface is dented
|
| 5341 |
and scratched and much surface dirt has gathered in these hollows
|
| 5342 |
as well as in cracks and joins. The bust is mounted on a turned and
|
| 5343 |
waisted socle of ebonized wood which cannot be origival.
|
| 5344 |
Bequeathed by Mrs Leverton Harris in 1939 together with the
|
| 5345 |
VG.7ig¢.» ¢"d Cb¢./d after Sansovino (No. 85).
|
| 5346 |
The bust was acquired as a work by Lucas and the attribution
|
| 5347 |
is likely to have come from the family of the boy depicted:
|
| 5348 |
there seems no reason to question it. Lucas exhibited at the
|
| 5349 |
Royal Academy betwccn 1829 and 1859 but it is seldom
|
| 5350 |
possible to know for certain whether the works he exhibited
|
| 5351 |
were of wax, ivory, clay, plaster, or marble in all of which
|
| 5352 |
media he worked. A `modcl of a child' was exhibited by him
|
| 5353 |
in 1830 (no.1130) and in 1833 a `Bust of Miss Bury,
|
| 5354 |
daughter of I.ady Charlotte Bury', but child portraiture seems
|
| 5355 |
not to have been a specially important category for hin.
|
| 5356 |
Lucas is now chiefly remembered in connection with the
|
| 5357 |
Berlin I/o#¢. Wilhelm von Bode published this as a work by
|
| 5358 |
Leonardo but it was claimed that Lucas made it and it had
|
| 5359 |
certainly been in his studio. See F¢&c? 7Z7c A# a/D#Gpf¢.o#,
|
| 5360 |
cd. Mark Jones, British Museum (I.ondon, 1990), 303-7.
|
| 5361 |
@@PROCESS
|
115
|
| 5363 |
|
| 5364 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5365 |
RIchard Cockle LUCAS ( 1800-83)
|
| 5366 |
@@PROCESS
|
| 5367 |
535. Bust portrait of D. C. Read
|
| 5368 |
77.2 cms. (height including socle)
|
| 5369 |
Plaster of Paris, covered with a light coat of pale grey paint now
|
| 5370 |
discoloured to a brown grey. Thick walled, hollow cast. There are
|
| 5371 |
vestigial seams in the top of the head. Chips are missing to proper
|
| 5372 |
left of edge of chest. `D C READ' is scratched in the surface of the
|
| 5373 |
supporting trunk of plaster rising from the socle through the hollow
|
| 5374 |
of the back.
|
| 5375 |
Given by Chambers Hall in 1855. Added at the end of the list of
|
| 5376 |
his gift on page 47 of the University Gallery's Donations Book
|
| 5377 |
( 1842-1906) as `A model Bust of D. C. Read by Lucas'. The manner
|
| 5378 |
in which it is added to the list, together with a folio volume of
|
| 5379 |
pencil sketches, presented by Read's widow, shows that the bust
|
| 5380 |
arrived after the rest of the gift, indeed after Hall's death later in
|
| 5381 |
1855. In the Department's accounts there is a payment of fl for `a
|
| 5382 |
Box from Mrs Reed [f¢.c] containing a bust' recorded under June
|
| 5383 |
1856. A letter from Mrs Read of 11 July 1855 mentions that Mr
|
| 5384 |
Hall wishes to send the bust and that she would like it to be safe
|
| 5385 |
in Oxford-`he bids me tell you that it is not a plaster cast but a
|
| 5386 |
solid terracotta study from the life, and sculptured by Lucas, and
|
| 5387 |
as a favour to Mr Read he charged 15 guineas for it'.
|
| 5388 |
D. C. Read ( 1790-1851) was a painter and printmaker who
|
| 5389 |
was a close friend of Chambers Hall. The distinguished
|
| 5390 |
collection of works of art which Hall gave to the University
|
| 5391 |
Galleries also included 118 etchings and 17 oils by Read.
|
| 5392 |
Rcad's wife Charlotte was evidently instrumental in directing
|
| 5393 |
Hall's collection to Oxford. She was personally responsible
|
| 5394 |
for its packagivg and transportation and for all correspondence
|
| 5395 |
with the University Galleries concerning it. Read and his wife
|
| 5396 |
are buried beside Hall at Boldrc in Hampshirc (infomation
|
| 5397 |
from a descendant of the Read family, Mr E. Stone of 186
|
| 5398 |
Clements Road, East Ham, I.ondon). There seems also to
|
| 5399 |
have been a wax bust by Lucas of Read. In his will, proved
|
| 5400 |
30 August 1851, Read bequeathed this to his second son
|
| 5401 |
Charles John Read and from him it passed to George Sidney
|
| 5402 |
Read, barrister, who left it to Edward Read Davies in whose
|
| 5403 |
possession it seems to have been in the early years of this
|
| 5404 |
century. That this was a small bust is clear from an earlier whl
|
| 5405 |
dated 13 October 1845 in which Read wrote that he gave to
|
| 5406 |
his friend William Martin Coates Esq. `the small bust of myself
|
| 5407 |
modeued in wax by Lucas the sculptor'-this he revoked
|
| 5408 |
when drafting the will of 14 May 1851, giving it instead to
|
| 5409 |
his second son. (Information on these wills has kindly been
|
| 5410 |
communicated by Mr Stone.) Gunnis's statement that the
|
| 5411 |
Ashmolean's bust is of wax is presumably based on the
|
| 5412 |
erroneous assumption that Lucas's portraits wcrc always in
|
| 5413 |
this material. For Lucas see also No. 534.
|
| 5414 |
@@PROCESS
|
| 5415 |
116
|
| 5416 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5417 |
RIchard Cockle LUCAS ( 1800-83)
|
| 5418 |
@@PROCESS
|
| 5419 |
536. Circular medallion profile bust
|
| 5420 |
portrait probably of Chambers Hall
|
| 5421 |
13.8 cms. (diameter); 8 cms. (depth)
|
| 5422 |
White wax. There are chips missing at the rim, also evidence of
|
| 5423 |
cement and old adhesive. A portion of the wax at the rim between
|
| 5424 |
7 and 8 o'clock is loose. Set in a circular ebonized wooden frame
|
| 5425 |
with a gold slip. The frame is inscribed in gold letters below with
|
| 5426 |
the artist's name and dates and above `SIR HENRy RAWLINSoN' and
|
| 5427 |
`cHAMBERS HALL GIFT'. Endorsed in black paint on the canvas
|
| 5428 |
backing `CHAMBERS HALL ESQ. / PROBABLy By/ R. C. LUCAS'. The
|
| 5429 |
`Probably' has been deleted and the note added in ink: `Mentioned
|
| 5430 |
as his in Mrs Rcad's / list sent with the Chambers Hall / Collection
|
| 5431 |
1855,.
|
| 5432 |
Probably part of the gift of Chambers Hall in 1855.
|
| 5433 |
The earliest inscription on this portrait presumably identifies
|
| 5434 |
it as a portrait of Chambers Hall, the collector (for whom
|
| 5435 |
see No. 535) and the authority of this is strengthened by the
|
| 5436 |
admission of doubt concerning the artist. It must correspond
|
| 5437 |
with the `medallion likeness of Mr Hall by Lucas' which is
|
| 5438 |
no. 7 in the list of `pictures' from Hall's collection described
|
| 5439 |
by Charlotte Read as sent off to Oxford in a letter of 2 Apul
|
| 5440 |
1855.
|
| 5441 |
There must have been some confusion with the portrait of
|
| 5442 |
Rawlinson by Lucas which was known to be in the Museum,
|
| 5443 |
and someone decided to make everything clear by gold
|
| 5444 |
inscriptions on the frame. Meanwhile, however, the portrait
|
| 5445 |
of Rawlinson, presumably because it was a portrait of an
|
| 5446 |
archaeoloSst, was in the care of the Department of
|
| 5447 |
Antiquities. There is no resemblance between the two profiles.
|
| 5448 |
On the other hand this portrait does resemble other portraits
|
| 5449 |
of Hall. And it docs resemble some work by Lucas-scc, for
|
| 5450 |
instance, the portrait of Lewis Rcndel of 1851 in the
|
| 5451 |
Wenholme Gaueries, Grimsby. For Lucas see also Nos. 534
|
| 5452 |
and 535.
|
| 5453 |
@@PROCESS
|
117
|
| 5455 |
|
| 5456 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5457 |
RIchard Cockle LUCAS ( 1800-83)
|
| 5458 |
@@PROCESS
|
| 5459 |
537. Oval medallion profile portrait
|
| 5460 |
head of Sir Henry Rawlinson
|
| 5461 |
19.5 cms. (height of wax); 15.2 cms. (width of wax); 16.8 cms.
|
| 5462 |
(height of wax visible); 13 cms. (width of wax visible); 13.8 cms.
|
| 5463 |
(height of head)
|
| 5464 |
The head is in white wax against a background of chocolate brown
|
| 5465 |
wax. The upper part of the background has warped, crinkled, and
|
| 5466 |
blistcred from accidental exposure to heat (perhaps the hot water
|
| 5467 |
pipes which were installed in the last decades of the last century).
|
| 5468 |
Set in a rectangular plaster surround, covered with vclvct (now a
|
| 5469 |
mustard yellow colour but revealed, under the frame, as origivally
|
| 5470 |
burgundy), and given a dlded wooden frame with composition
|
| 5471 |
foliate scrolls. `R C. Lucas / Sculp.' is funtly incised in an elegant
|
| 5472 |
cursive script in the wax below the cutting of the neck. In cuneiform
|
| 5473 |
script behind the head a text is boldly inscribed (partially distorted
|
| 5474 |
by the heat damage) below which these words are lightly scratched
|
| 5475 |
(as a translation) in elegant cursive script: `1 crossed
|
| 5476 |
the / Euphrates'. Attached to the pine backing of the frame is an
|
| 5477 |
old label `Sir Henry Rawlinson 1810-1895 / Diplomatist, Soldier,
|
| 5478 |
Orientalist / R C Lucas fecit.'
|
| 5479 |
Provenance unrecorded.
|
| 5480 |
Sir Henry Creswicke Rawlinson Bt. ( 1810-95) is described
|
| 5481 |
as the `Fathcr of Assyriology'. His interests in the subject
|
| 5482 |
developed during his military service in Iran and Afthanistan
|
| 5483 |
between 1833 and 1844. At considerable personal danger he
|
| 5484 |
transcribed the great rock inscription of Darius I in Western
|
| 5485 |
Iran the text of which was published by the Royal Asiatic
|
| 5486 |
Society. The portrait looks as if it should be dated to the
|
| 5487 |
1840s or 1850s on the uncertain evidcncc of the sittcr's
|
| 5488 |
apparent age and there are no stylistic reasons for doubting
|
| 5489 |
this. The setting of the portrait in an imitation of an early
|
| 5490 |
eighteenth-century French frame is typical of the mid-nineteenth
|
| 5491 |
century but the improvised manner in which it
|
| 5492 |
has been done here suggests that the artist did not supervise
|
| 5493 |
it. For Lucas see also Nos. 534nd.
|
jJAI-
|
| 5495 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5496 |
Foundry of E. Gruct, 44 avenue de Chatillion, Paris
|
| 5497 |
After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863-
|
| 5498 |
1931)
|
| 5499 |
@@PROCESS
|
| 5500 |
538. Diana wounded
|
| 5501 |
36.9 cms. (height)
|
| 5502 |
Bronze, highly polished, with a dark brown and dark green patim.
|
| 5503 |
Hollow, sand-cast in several pieces (see below). `8 Mackennal' with
|
| 5504 |
no stops and a tall to the last letter underlining the last part of the
|
| 5505 |
name, with the date `1905' above, is incised in the model on the
|
| 5506 |
integral naturalistic base to proper right of the figure. Within the
|
| 5507 |
hollow base are evident the iron armatures for the legs, a paper label
|
| 5508 |
in the shape of a heart inscribed `HH4', and the seal of the founder:
|
| 5509 |
`E GRUET JEUNE FONDEUR 44 AVENUE DE CHATILLION'.
|
| 5510 |
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
|
| 5511 |
No. I I in Andrew Shirley's receipt of January 1927.
|
| 5512 |
A cast of this statuette was exhibited in 1906 at the Royal
|
| 5513 |
Academy Exhibition (no.1648). A larger version, a `statue',
|
| 5514 |
presumably of plaster, was exhibited there in 1907 (no.1841 ),
|
| 5515 |
and a statue in marble at the Exhibition of 1908 (no.1974)
|
| 5516 |
which was purchased out of the Chantrey Bequest Fund (Tatc
|
| 5517 |
Gallery, in store). The bronze statuettes exist in great
|
| 5518 |
numbers. They differ from the marble in the trcatmcnt of the
|
| 5519 |
hair and the creasing of the belly, and do not employ the
|
| 5520 |
tree-trunk support. In some bronzcs divisions may be
|
| 5521 |
discerned in the upper part of the figurc's right thigh and
|
| 5522 |
right arm (as in version which was lot 93 at Christie's, Ijondon,
|
| 5523 |
24 September 1987), but none is visible in this case. Gruet's
|
| 5524 |
stamp is not always concealed: it is sometimes placed below
|
| 5525 |
the signature (as in the example just cited and in another
|
| 5526 |
bronze sold at Sotheby's, I.ondon, I October 1986). The
|
| 5527 |
method of securing the feet to the base also varies. The Gruct
|
| 5528 |
foundry cast work for Macmonmies and Saint-Gaudcns, so it
|
| 5529 |
was used to taking orders from abroad (Mackennal had
|
| 5530 |
settled in I.ondon by this date). At least one other Parisian
|
| 5531 |
foundry cast this model: some casts arc chiselled at the lowest
|
| 5532 |
part of the base below the signature `HOHWILLER FONDEUR
|
| 5533 |
(see, for example, Christic's, I.ondon, 29 September 1988,
|
| 5534 |
lot 253).
|
| 5535 |
What M. H. Spielmann observed of Mackennal in his
|
| 5536 |
British Scttlpture and Scttl2tors Of To-Day (Tcondon, L90L) ,
|
| 5537 |
@@PROCESS
|
| 5538 |
135, seems particularly pertinent in connection with this
|
| 5539 |
figure: `a good deal of Mr Mackcnnal's elegance seems to
|
| 5540 |
have been instilled into him in Paris'. However, his inspiration
|
| 5541 |
must have been German sculpture in which the motif of the
|
| 5542 |
twisted nude reaching down to his or her lower leg was so
|
| 5543 |
commonly repeated in the first years of the twentieth century:
|
| 5544 |
the S¢"d¢/4¢.#dcr of 1901 by Nikolaus Friedrich ( 1865-
|
| 5545 |
1914), the S¢#d¢/4¢.#de7?.7e of 1901 by August Kraus ( 1868-
|
| 5546 |
1934), the B¢dc7¢de A4l¢dc¢c7c of 1902 by Wilhelm Lehmbruck,
|
| 5547 |
and the S¢»de/c„b¢.„der¢.# of 1906 by Arthur Lewin-Funckc
|
| 5548 |
are all sinflar (8. Hffler, R¢e¢.7¢/¢7¢¢ We:for#/c" #"d ¢¢.c
|
| 5549 |
Berliner Bildhanerschule des 19. jahrhunderts (Modelne
|
| 5550 |
Galerie, Quadrat Bottrop, and Schloss Cappenbcrg, 1984),
|
| 5551 |
@@PROCESS
|
| 5552 |
113,150,165,166).
|
| 5553 |
@@PROCESS
|
119
|
| 5555 |
|
| 5556 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5557 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5558 |
Sir Edgar Bertran MACKENNAL Kcvo, RA ( 1863-1931 )
|
| 5559 |
@@PROCESS
|
| 5560 |
539. Sappho
|
| 5561 |
28.7 cms. (height including integral base); 23.8 cms. (length of
|
| 5562 |
integral base); 16,5 cms. (width of integral base); 6.4 cms. (height
|
| 5563 |
of plinth); 25.9 cms. (length of plinth); 20 cms. (width of plinth)
|
| 5564 |
White Carrara marble. Chiselled to proper left of the integral
|
| 5565 |
naturalistic base `8 Mackennal' with no stops and a tail to the last
|
| 5566 |
letter underlining the last part of the name. Mounted on a plinth of
|
| 5567 |
pale green slightly banded onyx.
|
| 5568 |
Presented by the sculptor's daughter Mrs C. A. Kraay in 1952, the
|
| 5569 |
year in which her son Colin Mackennal Kraay became an Assistant
|
| 5570 |
Keeper in the Hebcrden Coin Room. Registered (on 13 November)
|
| 5571 |
and listed in the A#7¢#¢/ RGPo# ( 1952), 48, as `Scated Female
|
| 5572 |
Figure'.
|
| 5573 |
The statuette was exhibited at the Royal Academy Exhibition
|
| 5574 |
in 1909 (no.1836, S¢¢pfro, illustrated in Rayro/ Ac¢deny
|
| 5575 |
P¢.cf#71cJ ( 1909),121 ). It seems to have rcmaincd in the artist's
|
| 5576 |
possession (unless more than one version of it was carved) for
|
| 5577 |
it was included in the Fine Art Society's Memorial Exhibition
|
| 5578 |
Of Stati4ettes ky the Late Sir Bertram Macheunal .in May \932
|
| 5579 |
(as no.I ), and was exhibited in the Co7„oweowo7fl}fG.pc
|
| 5580 |
Eichibition Of. Works ky Late Members cLt che Ttoval AlcaLderny
|
| 5581 |
in the following year (no. 802, lent by Lady Mackcnnal). The
|
| 5582 |
theme of a compact female nude seated or crouching,
|
| 5583 |
wrapped in thought, was popular in the French sculpture with
|
| 5584 |
which Mackennal, who had worked in Paris in Rodin's studio
|
| 5585 |
in the early l880s and again in the 1890s on his rctum from
|
| 5586 |
his native Australia, was very finiliar. S¢4pfo may be regarded
|
| 5587 |
as a version of Dalou's Ve'7¢.fg' owc'co7¢»"G (probably cxecutcd
|
| 5588 |
in the l890s and available from 1903 in 4¢.fc#G.£ de Sforcf as
|
| 5589 |
well as bronze) only tidier in form and less desperate in
|
| 5590 |
emotion. Closely related works are the B¢#¢c7' of 1904 by
|
| 5591 |
Bcla Lyon Pratt (reserve collection, Fogg Art Museum,
|
| 5592 |
Harvard University,1939.308) and the nude by Constantin
|
| 5593 |
Dimitriadis, also dated 1909 (versions of both this and the
|
| 5594 |
Dalou were lots 153 and 154 at Christie's, I.ondon, 28
|
| 5595 |
January 1988, illustrated). A bronze by Mackcnnal with the
|
| 5596 |
same title as this was exhibited at the Royal Academy in 1921
|
| 5597 |
(no.1195). It is entirely different in conception and represents
|
a nude woman leaning back against a rock.
|
| 5599 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5600 |
@@PROCESS
|
| 5601 |
122
|
| 5602 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5603 |
Unknown foundy
|
| 5604 |
After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863-
|
| 5605 |
1931)
|
| 5606 |
@@PROCESS
|
| 5607 |
540. King George V in naval
|
| 5608 |
uniform
|
| 5609 |
20.5 cms. (height); 6 cms. (height of marble base)
|
| 5610 |
Bronze, with a brown patina. Hollow, probably lost-wax, cast.
|
| 5611 |
Incised `8. Mackennal' in the model across the base of the hollowed
|
| 5612 |
back. Bolted to a block of black marble, cubic but with a curved
|
| 5613 |
front face.
|
| 5614 |
Given to the Hcberden Coin Room in 1982 by Mrs Kraay, in
|
| 5615 |
memory of her husband Colin Mackennal Kraay (b.1918; d. 27
|
| 5616 |
January 1982; Keeper of the Coin Room 1975-82) who was the
|
| 5617 |
sculptor' s grandson.
|
| 5618 |
Mackennal's contacts with the royal family had been
|
| 5619 |
established by his work first on the coronation medals for
|
| 5620 |
George V and Queen Mary in May 1911. He was then chosen
|
| 5621 |
to mckc both the equestrian statue of King Edward VII for
|
| 5622 |
Waterloo Place and the recumbent effigy for Windsor.
|
| 5623 |
Another version of the bust was in the collection of Sir Leon
|
| 5624 |
and Iddy Trout (sold Christie's, at their home, Everton Park,
|
| 5625 |
Brisbane, 6-7 June 1987, lot 63a). This was dated 1911 and
|
| 5626 |
was mounted on a tapering chamfercd marble pedestal with
|
| 5627 |
ormolu mounts (53 cms. in height with the bust) which must
|
| 5628 |
have been dcsigncd by or for the sculptor. This bust with
|
| 5629 |
pedestal (or an identical repetition) was lot 102 at Sotheby's,
|
| 5630 |
Ijondon, on 30 March 1990.
|
| 5631 |
@@PROCESS
|
123
|
| 5633 |
|
| 5634 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5635 |
Unknown foundry
|
| 5636 |
After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863-
|
| 5637 |
1931)
|
| 5638 |
@@PROCESS
|
| 5639 |
541. Betty
|
| 5640 |
31.8 cms. (height, excluding base); 17.7 cms. (height of base);
|
| 5641 |
15 cms. (length and width of base)
|
| 5642 |
Bronze with a slightly green to dark brown patina. Hollow, lost-wax,
|
| 5643 |
cast. `MACKENNAL' chiselled on the metal at the back of the
|
| 5644 |
neck. Mounted on a base of black marble.
|
| 5645 |
Presented by the sculptor's only daughter Mrs C. A. Kraay in 1952,
|
| 5646 |
the year in which her son Colin Mackennal Kraay became an
|
| 5647 |
Assistant Keeper in the Heberden Coin Room. Registered on 13
|
| 5648 |
November and listed in the A7¢»#¢/ RcPo7¢ ( 1952), 48, as `portrait
|
| 5649 |
bust'.
|
| 5650 |
The sculpture was cxhibitcd at the Royal Academy in 1925
|
| 5651 |
(no.1391, BGrty, illustrated in Ray#/ Ac¢dcowy I//#ffr¢£G¢
|
| 5652 |
( 1925),128). Other female busts with similady finiliar names
|
| 5653 |
Uo¢„ and A4l¢7/.o7?.c) were exhibited in the same year. The bust
|
| 5654 |
seems to have remained in the artist's possession (unless more
|
| 5655 |
than one cast was made of it), for it was included in the Fine
|
| 5656 |
Art Society's Memorial Exhibition of Sfzzf„c#Gf ky £¢e Lefg S¢.r
|
| 5657 |
Bc#7i¢ow A4l¢c&G"»¢/ in May 1932 (as no.13), and was
|
| 5658 |
ex].jib.ited in the Commemorative lhahibition Of Works ky Late
|
| 5659 |
Meow4cgrf at the Royal Academy in the following year (no. 238,
|
| 5660 |
lent by Ijady Mackennal).
|
| 5661 |
@@PROCESS
|
| 5662 |
124
|
| 5663 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5664 |
Baron Carlo MAROCHETTI RA ( 1805nd7)
|
| 5665 |
@@PROCESS
|
| 5666 |
542. Model for the tomb of princess
|
| 5667 |
Elizabeth Stuart ( untraced)
|
| 5668 |
61 cms. (2 feet) (length)
|
| 5669 |
Stone and bronze.
|
| 5670 |
In the Donations Book for 1892 George Wyatt (son of the donor
|
| 5671 |
of Roubiliac's owode//a for the Handel monument-No. 565) is
|
| 5672 |
recorded as having given `Marochetti's tomb model of Princess
|
| 5673 |
Elizabeth'. It is recorded as 2 feet in length. In the i4ce„"a/ Rcporf
|
| 5674 |
of the Curators Of the University Galleries Of the idilowing yea.I (p. \)
|
| 5675 |
it is given as a bequest: `a small model in stone of the tomb of
|
| 5676 |
Princess Elizabeth, with figure in bronze by Baron Marochetti'. The
|
| 5677 |
minutes of the Curators of the University Galleries reveal that it was
|
| 5678 |
officially accepted on 2 February 1893 (p.120) but also that the
|
| 5679 |
stonework had been `damaged for want of care in packing' (p.123).
|
| 5680 |
I have found no other subsequent archival reference to the model
|
| 5681 |
and the model itself has not been traced.
|
| 5682 |
Marochetti was trained as a sculptor in Paris, studied in Rome
|
| 5683 |
in the 1820s, exhibited at the Paris Salon after 1827, and
|
| 5684 |
obtained major commissions in both Italy and France,
|
| 5685 |
including the colossal bronze statue of Duke Emanuele
|
| 5686 |
Filiberto for his native Turin (cast in Paris in 1833, erected in
|
| 5687 |
Turin in 1838) and the great marble altarpiece of the
|
Madelcine in Paris ( 1841). In 1848 hc followed King Louis-
|
| 5689 |
Philippe into exile in England where he commenced
|
| 5690 |
exhibiting in 1851. Hc enjoyed the patronage of the British
|
| 5691 |
royal family, obtained major public commissions, and enjoyed
|
| 5692 |
a flourishing practice as a portraitist-his experience working
|
| 5693 |
in bronze as well as his international reputation compensating
|
| 5694 |
for the hostility of British artists and critics. The `Princcss
|
| 5695 |
Elizabeth' referred to is, as Philip Ward-Jackson pointed out
|
| 5696 |
to mc, the daughter of King Charles I. She died in 1650 when
|
| 5697 |
in captivity in Carisbrook Castle on the Isle of wight. Her
|
| 5698 |
monument was erected `as a token of respect for her virtues
|
| 5699 |
and sympathy for her misfortunes' by Queen Victoria in St
|
| 5700 |
Thomas, Ncwport (Isle of wight) where she was buried. The
|
| 5701 |
drl is represented in marble stretched out in her fine clothes
|
| 5702 |
as if asleep, a huge Bible serving as her pillow. The prison
|
| 5703 |
bars arc indicated in relief in the Gothic niche in which the
|
| 5704 |
tomb is set. The tomb was complete by December 1856 when
|
| 5705 |
the queen visited it. Marochetti had been first approached in
|
| 5706 |
the summer of 1854 concerning the commission. Miss Pamela
|
| 5707 |
Clark, Deputy ReSstrar of the Royal Archives at Windsor
|
| 5708 |
Castle, who has supplied these dates also points out that there
|
| 5709 |
is a payment of£35 to Marochetti in February 1858 for a
|
| 5710 |
`copy' of the monument which had been supplied to the
|
| 5711 |
queen `beforc Christmas'. This may well be a rcfcrence to
|
| 5712 |
the model.
|
| 5713 |
Baron Carlo Marochctti, Monument to Princess Elizabeth, St. Thomas, Newport
|
| 5714 |
( Photo courtesy of the Conway Library, Courtauld Institute of Art)
|
| 5715 |
@@PROCESS
|
125
|
| 5717 |
|
| 5718 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5719 |
Royal College of Art foundry
|
| 5720 |
Bcrnard MEADOWS (b.1915)
|
| 5721 |
@@PROCESS
|
| 5722 |
543. Help
|
| 5723 |
13.6 cms. (height); 40 cms. (length); 15 cms. (width)
|
| 5724 |
Polished bronze. Hollow, lost-wax cast in thrcc pieces, bolted
|
| 5725 |
together, the larger cubic piece open below. Chiselled in the metal:
|
| 5726 |
` ® 0/6' on the underside of the cubic piccc.
|
| 5727 |
From the collection of Christopher Hcwctt ( 1938-83). Given to
|
| 5728 |
the Museum by his finily in June 1985 and included in the
|
| 5729 |
exhibition celebrating the dft held in the MCAlpinc Gallery in January
|
| 5730 |
and Fchruary 1987 (no. 98 in the catalogue). Two other sculptures
|
| 5731 |
by Meadows (Nos. 544, 545) wcrc also included in the Sft together
|
| 5732 |
with twelve drawings. Meadows had exhibited at Hcwett's
|
| 5733 |
Taranman Gallery in 1975 and 1978.
|
| 5734 |
This bronze was cast in 1970 in an edition of six with one
|
| 5735 |
additional artist's cast (opus 92). There is a version nearly
|
| 5736 |
twice as large which was cast in an edition of the same size in
|
| 5737 |
1964 (opus 81 ) of which one example is in Bristol City Art
|
| 5738 |
Gallery and Museum, presented to the Gallery partly by the
|
| 5739 |
Museum's Friends in 1969. The sculpture is typical of the
|
| 5740 |
abstract work composed of interlocked elcmcnts with strong
|
| 5741 |
anatomical associations which the followers of Henry Moorc
|
| 5742 |
favoured. The sculptor supervised both the casting and
|
| 5743 |
polishing.
|
| 5744 |
ffi==is=Tng=L:-rfeRE =.`_i`.`.
|
| 5745 |
@@PROCESS
|
| 5746 |
126
|
| 5747 |
Royal College of Art foundry
|
| 5748 |
Bernard MEADOWS (b.1915)
|
| 5749 |
@@PROCESS
|
| 5750 |
544. Frightened figure
|
| 5751 |
29.2 cms. (height of bronze); 4.2 cms. (height of plinth);
|
| 5752 |
19.5 cms. (length of plinth); 15.7 cms. (width of plinth)
|
| 5753 |
Polished bronze. Hollow, lost-wax cast in three pieces, bolted
|
| 5754 |
together. The smaller bulbous clemcnts are more highly polished.
|
| 5755 |
Mounted on a plinth of travertinc.
|
| 5756 |
From the collection of Christopher Hcwett ( 1938T83). Given to
|
| 5757 |
the Museum by his finfty in June 1985 and included in the
|
| 5758 |
cxhibitioncelcbratingtheSfthcldinthcMCAlpincGalleryinJanuary
|
| 5759 |
and February 1987 (no. 97 in the catalogue). Two other sculptures
|
| 5760 |
by Meadows (Nos. 543, 545) were also included in the aft together
|
| 5761 |
with twelve drawings. Meadows had exhibited at Hewett's
|
| 5762 |
Taranman Gallery in 1975 and 1978.
|
| 5763 |
The sculpture was made in 1976. There was an edition of six
|
| 5764 |
casts with one additional artist's cast. The sculptor supervised
|
| 5765 |
both the casting and polishing.
|
| 5766 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5767 |
ife ,` .,-,..-.. '-, i
|
| 5768 |
@@PROCESS
|
127
|
| 5770 |
|
| 5771 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5772 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5773 |
Royal College of Art foundry
|
| 5774 |
Bernard MEADOWS (b.1915)
|
| 5775 |
@@PROCESS
|
| 5776 |
545. Watchers
|
| 5777 |
23.3 cms, (height); 29 cms. (Length)
|
| 5778 |
Polished bronze. Hollow, lost-wax cast in three pieces, bolted
|
| 5779 |
together, the cubic piece open below. Chiselled in the metal: ` ®
|
| 5780 |
1/6' on the underside of the latter where sawn off.
|
| 5781 |
From the collection of Christopher Hewctt ( 1938-83). Given to
|
| 5782 |
the Museum by his family in June 1985 and included in the
|
| 5783 |
exhibition celebrating the gift held in the MCAlpine Gallery in January
|
| 5784 |
and February 1987 (no. 99 in the catalogue). Two other sculptures
|
| 5785 |
by Meadows (Nos. 543, 544) were also included in the aft together
|
| 5786 |
with twelve drawings. Meadows had exhibited at Hewett's
|
| 5787 |
Taranman Gallery in 1975 and 1978.
|
| 5788 |
The sculpture was cast in 1979 in an edition of six with an
|
| 5789 |
artist's cast. A unique cast of a version twice as large is in the
|
| 5790 |
Open Air Museurn, Hakone, Japan. The sculptor supervised
|
| 5791 |
both the casting and polishing.
|
| 5792 |
@@PROCESS
|
| 5793 |
128
|
| 5794 |
Paul Raphael MONTFORD FRBs ( 1868-1838)
|
| 5795 |
@@PROCESS
|
| 5796 |
546. Victor Rienaecker
|
| 5797 |
37.6 cms. (height); 17.2 cms. (length at base moulding);
|
| 5798 |
11.3 cms. (width at base moulding)
|
| 5799 |
Bronze with a dark brown to chestnut patina, grey-green in the
|
| 5800 |
decpcr hollows. Hollow, lost-wax, cast. Incised on the back of the
|
| 5801 |
bust in a cursive script in the model: `Paul R. Montford / 1922 Sc.'
|
| 5802 |
Unknown provenance. Presumably presented by the sitter or in his
|
| 5803 |
honour or memory.
|
| 5804 |
Montford, the son of Horace Montford, also a sculptor, won
|
| 5805 |
the Royal Academy gold medal and travel studentship in
|
| 5806 |
1891. In 1898 he was appointed modelling master at Chelsea
|
| 5807 |
Polytechnic. Montford's most notable achievements are in
|
| 5808 |
the field of large architectural decoration-n Battcrsca Town
|
| 5809 |
Hall (designs exhibited 1894), Cardiff City Ham and Law
|
| 5810 |
Courts (design exhibited in 1903, model in 1905), the Royal
|
| 5811 |
College of science and Technology (model cxhibitcd in
|
| 5812 |
1916), and, in bronze, the four groups on the Kelvin Way
|
| 5813 |
Bridge, Kclvingrove Park, Glasgow (exhibited in 1917 and
|
| 5814 |
1918). This portrait must bc one of his last works executed
|
| 5815 |
in the country for he emigrated to Australia in the same year
|
| 5816 |
(whcrc he executed among other works the gable relief for
|
| 5817 |
the Melbourne War Memorial). In its vulnerable pensive
|
| 5818 |
mood and sketchy finish it resembles the earliest portrait by
|
| 5819 |
him to have come to my attention: the curious medallion dated
|
| 5820 |
1893 with an easel-shaped ground (Sotheby's, I.ondon, 18
|
| 5821 |
March 1987, lot 174-no.1690 in the Academy Exhibition
|
| 5822 |
of 1893). The portrait of RIenaecker may have been the
|
| 5823 |
`portrait bust, bronze' which Montford exhibited at the Royal
|
| 5824 |
Academy in 1922 (no.1345). But Geoffrey Giddings, in the
|
| 5825 |
survey of Montford's work published in A„c4G.£gcf'f /o„#g¢/
|
| 5826 |
for December 1922 (56: 789-92), observed that Montford
|
| 5827 |
had `some fifty' busts to his credit.
|
| 5828 |
Victor RIenaecker was appointed to succeed the Hon. A.
|
| 5829 |
Shirley in 1929 as Assistant Keeper of the Department of
|
| 5830 |
Fine Art. He had, previous to this date, been a generous
|
| 5831 |
benefactor of the Museum, lending watercolours in 1924 and
|
| 5832 |
1925, for example. Hc resigned in July 1931 shordy after Bell
|
| 5833 |
and was replaced by Ian Robertson in 1932. He remained a
|
| 5834 |
fiend of the Department to which he made Sfts in 1953.
|
| 5835 |
@@PROCESS
|
129
|
| 5837 |
|
| 5838 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5839 |
Alexander MUNRO ( 1825-71 )
|
| 5840 |
@@PROCESS
|
| 5841 |
547. Profile portrait of John
|
| 5842 |
Everett rmllais
|
| 5843 |
56 cm. (height within frame); 45.5 cms. (width within frame);
|
| 5844 |
67.5 cms. (height of frame); 57 cms. (width of frame)
|
| 5845 |
Plaster of Paris. The artist's monogram (an interlaced A and M) is
|
| 5846 |
scratched below the truncation of the neck. `ALEX. MUNRo. Sc' is
|
| 5847 |
scratched on the truncation itself. The relief is set in its original
|
| 5848 |
frame: a reverse moulding of ebonizcd wood with a gold slip.
|
| 5849 |
Given by Dr Acland on 16 Dcccmber 1856 (Minutes of the Curators
|
| 5850 |
of the University Galleries, p. 31) shordy after No. 548. For Acland
|
| 5851 |
see No. 549. Placed on exhibition in the newly decorated Combe
|
| 5852 |
Gallery in 1988, having been in storage for about half a century.
|
| 5853 |
The portrait was exhibited-in what medium is not clear-at
|
| 5854 |
the Royal Academy in 1854 (no. 1523). A version of
|
| 5855 |
uncertain medium is said to be in the collection of Sir Ralph
|
| 5856 |
Miuais, another, also of plaster, less sharp and less clear, and
|
| 5857 |
in a fat laurel wreath frame, is in the National Portrait Gallery,
|
| 5858 |
I.ondon (no. 4959, given by the artist's granddaughter Mrs
|
| 5859 |
Katharine Macdonald in 1973), and another plaster (without
|
| 5860 |
@@PROCESS
|
| 5861 |
130
|
| 5862 |
the monogram) belonged in 1969 to Mrs Dorothy Walker
|
| 5863 |
of Ncwburgh, Fife (letter in the Department's archive of 22
|
| 5864 |
January 1969). A xerox of an old reproduction of the
|
| 5865 |
medallion portrait enclosed by Mrs Walker has a caption
|
| 5866 |
identifying it as `from the marble' and dating it to 1853-it
|
| 5867 |
is indeed likely that the model was commenced even if not
|
| 5868 |
completed in that year. 1854 is the date which appears on
|
| 5869 |
the most exquisite of all Munro's medallion portraits in c¢po
|
| 5870 |
r¢./¢.ova-that of the wife of the donor of the Ashmolcan's
|
| 5871 |
plaster, Sarali Acland, of which the marble origival, framed in
|
| 5872 |
Verom marble, was, after her death in 1878, adopted for her
|
| 5873 |
monument in Christ Church Cathedral, and of which a marble
|
| 5874 |
replica, framed in Siena marble, was placed in the entrance
|
| 5875 |
ham of the Acland Nursing Home in Oxford founded in her
|
| 5876 |
memory. Medallion portraits of ladies were, it seems, a
|
| 5877 |
speciality of the artist in the early 1850s-nc of I,ady
|
| 5878 |
Constancc Grosvenor in marble had bccn exhibited at the
|
| 5879 |
Academy in 1853 (no. 1460) and one of I.ady Alwyne
|
| 5880 |
Compton was also exhibited in 1854 (no. 1524)-nd the
|
| 5881 |
portrait of Mfllais has a softness in its curls and a delicaey in
|
| 5882 |
its profile worthy of these.
|
| 5883 |
Alexander MUNRO ( 1825-71 )
|
| 5884 |
@@PROCESS
|
| 5885 |
548. Profile medallion portrait of
|
| 5886 |
the Revd Dr Henry Wellesley
|
| 5887 |
54 cms. (diameter of marble as visible); 74.3 cms. (height and
|
| 5888 |
width of frame)
|
| 5889 |
Carrara marble, slightly stained with grey and rusty patches, also
|
| 5890 |
discoloured with some surface dirt. The artist's monogram (an A
|
| 5891 |
and M interlaced, but without the cross-bar of the A in this case) is
|
| 5892 |
chiselled below the truncation of the neck. The relief is set in its
|
| 5893 |
original frame: a plain flat oak border with spandrels of deal, with a
|
| 5894 |
sanded texture, gilded, now opening at the joins. A brass plaque
|
| 5895 |
on the frame is engraved: `HENRICI. WELLESLEy. S T.P /ARTTUM.
|
| 5896 |
ELEGANTIUM. FAVTORIS. CULTISSIMI / HANG. IMAGINEM.
|
| 5897 |
ECTYPAM / S_OCIETAS. OXON. ARTIBUS. COLENDIS. DEDITA / FAG.
|
| 5898 |
CUR. ;As fro cccLVI. '
|
| 5899 |
Commissioned, as the inscription above makes clear, in 1856, the
|
| 5900 |
portrait was presented by members of the Oxford Art Society to
|
| 5901 |
the University Galleries in 1857 as is recorded in the manuscript
|
| 5902 |
Donations Book, p. 48. The Minutes of the Curators of the
|
| 5903 |
University Galleries (p. 31) indicate that the ctft was proposed on
|
| 5904 |
the Socicty's behalf by the Revd George Butler and accepted on 11
|
| 5905 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5906 |
November 1856. Exhibited in the galleries in the nineteenth century,
|
| 5907 |
but in rcccnt decades kept in basement storage, the relief was placed
|
| 5908 |
on exhibition in the newly decorated Combc Gallery in 1988.
|
| 5909 |
The portrait was exhibited by Munro at the Royal Academy
|
| 5910 |
in 1856 (no.1279, `Marblc Medauion of Rev. Dr. Wellesley
|
| 5911 |
Principal of New Inn Hall, Oxford, President of Oxford Art
|
| 5912 |
Society'). Wellesley, more than any other senior member of
|
| 5913 |
the University, was responsible for securing for the University
|
| 5914 |
Gaueries Sir Thomas Lawrcnce's collection of drawings by
|
| 5915 |
Raphael and Michclangclo and it was this, above all, that the
|
| 5916 |
commission and presentation of this portrait commemorated.
|
| 5917 |
The Art Society's attention had perhaps been drawn to Munro
|
| 5918 |
by his mcdahion portraits of Mrs Acland of 1854 (for which
|
| 5919 |
see No. 547) and of Master Henry Acland (exhibited at the
|
| 5920 |
Royal Academy in 1855, no. 1485), for Henry Acland, this
|
| 5921 |
boy's father (No. 549) was after Wellesley perhaps the most
|
| 5922 |
influential figure in the cultural life of the University. Acland
|
| 5923 |
himself presented Munro's medallion of Millais (No. 547) to
|
| 5924 |
the University Galleries a little over a month later. Wellesley
|
| 5925 |
was stiu a Curator of the Galleries in 1856. A decade later his
|
| 5926 |
place was taken by Acland.
|
| 5927 |
@@PROCESS
|
131
|
| 5929 |
|
| 5930 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5931 |
Alcxandcr MUNRO ( 1825-71 )
|
| 5932 |
@@PROCESS
|
| 5933 |
549. Bust portrait of professor
|
| 5934 |
Henry Wentworth Acland
|
| 5935 |
67.5 cms. (height); 29 cms. (length across lowest portion of
|
| 5936 |
chest); 28 cms. (length across base); 22.3 cms. (width)
|
| 5937 |
Plaster of Paris. Hollow cast with no evident seams. The plaster has
|
| 5938 |
bccn stained to a stone colour. Minor scratches on the nose, cheek,
|
| 5939 |
edge of the shoulder, and geometrical termination of the bust reveal
|
| 5940 |
the white of the plaster. The chest is slightly mottled with mould
|
| 5941 |
stains.
|
| 5942 |
Transferred from the Bodleian Ijibrary in 19 02 .
|
| 5943 |
Munro's bust of Dr Acland was cxhibitcd as a marble at the
|
| 5944 |
Royal Academy exhibition in 1857 (no. 1280). The marble
|
| 5945 |
version-r at least a marble version-signed on the proper
|
| 5946 |
left side of the geometrical termination of the bust `ALEx.
|
| 5947 |
MUNRo. Sc. 1857', is in the Acland Nursing Home in the
|
| 5948 |
Woodstock Road, near the reception desk. It differs from
|
| 5949 |
this plaster in that the lower part of the chest is terminated in
|
| 5950 |
a briefer, more complex, but no more naturalistic manner.
|
| 5951 |
The plaster must therefore record the oriSnal clay model
|
| 5952 |
rather than reproduce the marble. The following inscription
|
| 5953 |
on the marble refers to the circumstances of its commission
|
| 5954 |
following Acland's gallant conduct to victims of a shipwreck:
|
| 5955 |
`UXORI HENRICI DYKE ACIAND M.D. / MEDICINjE
|
| 5956 |
pROFEssoRls REGII ET cLINlcALls / cusTODls BIBLloTHEcrf
|
| 5957 |
RADCLIFFIANffi / IN UNIVERSITATE OXONIENSI / IIANC
|
| 5958 |
MARITI EJUS EFFIGIEM / D.D. / AMICI IXXV / VITAM SIBI
|
| 5959 |
ACADEMlffi MULTIS PRETEREA / CARAM ET UTILEM / E
|
| 5960 |
NAUFRAGII pERIcuLO sOsplTEM / GRATUIANTEs. ' A small
|
| 5961 |
plaster version of the bust is in a private collection in Oxford
|
| 5962 |
and it is possible that an edition of such was cast for
|
| 5963 |
distribution to the grateful friends.
|
| 5964 |
Henry Acland ( 1815-1900) was one ofthc most influential,
|
| 5965 |
and attractive, figures in the University of Oxford in the
|
| 5966 |
second half of the last century. The second son ofthc politician
|
| 5967 |
and philanthropist Sir Thomas Dyke Acland ( 1787-1871 ) hc
|
| 5968 |
possessed as a young man many talents, including artistic
|
| 5969 |
ones, but, after 1840, he devoted himself chiefly to medicine.
|
| 5970 |
He was made reader in Anatomy at his old college of Christ
|
| 5971 |
Church in 1845, a Fcuow of the Royal Society in 1847,
|
| 5972 |
Radcliffe I.ibrarian, physician to the Radcliffe Infirmary, and
|
| 5973 |
Aldrichian Professor of Clinical Medicine in 1851, and ReSus
|
| 5974 |
Professor of Medicine in 1857-the year in which this bust
|
| 5975 |
was made. The bust also coincides with the building of the
|
| 5976 |
Oxford Museum (the foundation stone was laid in 1855 and
|
| 5977 |
it was opened in 1861) in the creation of which he played a
|
| 5978 |
leading part. He was made a Curator of the University
|
| 5979 |
Galleries in 1866. Acland was a close friend of John Ruskin
|
| 5980 |
and it may have been Ruskin who first drew his attention to
|
| 5981 |
Muuro. For Munro's bust of Mrs Acland see No. 547 and
|
| 5982 |
for his statues for the Oxford Museum see Nos. 550 and 551.
|
| 5983 |
Acland was created a baronet in 1890.
|
| 5984 |
@@PROCESS
|
| 5985 |
132
|
| 5986 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 5987 |
Alexander MUNRO ( 1825-71 )
|
| 5988 |
@@PROCESS
|
| 5989 |
550. Model for a statue of Galileo
|
| 5990 |
62.8 cms. (height including base); 3.9 cms. (height of base);
|
| 5991 |
25.1 cms. (diameter of base)
|
| 5992 |
Plaster of I'aris, coloured dark grey-black. Thick-walled, possibly
|
| 5993 |
solid cast, attached to a solid base. Some white scratches on the
|
| 5994 |
base.
|
| 5995 |
Given by Mr J. A. R. Munro in 1916.
|
| 5996 |
Munro's stone statue of Galileo was one of the series of men
|
| 5997 |
of science commissioned for the great hall of the Oxford
|
| 5998 |
University Museum c.1857. It remains in its oriSnal position
|
| 5999 |
bctwccn columns 19 and 20. There are a number of minor
|
| 6000 |
differences between it and this model: in the statue the sleeves
|
| 6001 |
are wider and the base has been cut down to a square with
|
| 6002 |
chamfered corners to match the stepped corbel support-in
|
consequence the hcro's right foot projects over the edge.
|
| 6004 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6005 |
Alexander MUNRO ( 1825-71 )
|
| 6006 |
@@PROCESS
|
| 6007 |
551. Model for a statue of
|
| 6008 |
Hippocrates
|
| 6009 |
59 cms. (height including base); 3.2 cms. (height of base); 18 cms.
|
| 6010 |
(diameter of base)
|
| 6011 |
Plaster of Paris, coloured dark grey-black. Solid cast. The scroll in
|
| 6012 |
the figurc's right hand has been broken before the colouring. Some
|
| 6013 |
white scratches on the base.
|
| 6014 |
Given by Mr H. A. Munro in 1917.
|
| 6015 |
Munro exhibited `Hippocratcs; Model of a statue to be
|
| 6016 |
presented by John Ruskin, Esq„ to the New Museum at
|
| 6017 |
Oxford' at the Royal Academy in 1857 (no. 1232). The statue
|
| 6018 |
itself, carved out of stone, remains in its origival position
|
| 6019 |
between columns 6 and 7 of the University Museum. It differs
|
| 6020 |
from this model only in minor respects: the caduceus in the
|
| 6021 |
larger statue is not confined to a recessed panel on the altar
|
| 6022 |
and the base is square with chamfercd comers.
|
| 6023 |
@@PROCESS
|
| 6024 |
134
|
| 6025 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6026 |
Alexander MUNRO ( 1825-71 )
|
| 6027 |
@@PROCESS
|
| 6028 |
552. Seal in the form of a bust of a
|
| 6029 |
bearded warrior
|
| 6030 |
5.1 cms. (height)
|
| 6031 |
Hone stone. The faceted end of the shaft is engraved with the initials
|
| 6032 |
DM in Gothic. The shaft is broken in two (it has been reassembled
|
| 6033 |
for photography). The artist's monogram (an A and M interlaced)
|
| 6034 |
is carved on the hollowed back of the bust.
|
| 6035 |
Given in 1947 by Amy Tetley of Ingelby, St Andrew's Place,
|
| 6036 |
Llandudno. Redstered on 21 April. Inherited by her from her father
|
| 6037 |
to whom it was given by the artist (see below).
|
| 6038 |
The letter from the donor of 17 April 1947 preserved in the
|
| 6039 |
Dcpartmcnt's archive supplies all the information there is
|
| 6040 |
about this mysterious, miniature sculpture:
|
| 6041 |
Dear Sir, After listening to that BBC charming talk on the Ashmolean
|
| 6042 |
in which the Pre-Raphaelites were given an honoured place, I
|
| 6043 |
remembered this little figure which Alec Munro carved one night
|
| 6044 |
when he and my father were having one of their night long confabs,
|
| 6045 |
and which he tossed across to him with a grin, when it was finished.
|
| 6046 |
My father was living then in Regent's Park and as they had been
|
| 6047 |
boys together in York they kept up the fuendship and spent many
|
| 6048 |
long nights together. I imagine this little greek warrior, the work
|
| 6049 |
of the Pre-Raphaelite's early sculpture might enjoy a place among
|
| 6050 |
the work of the men whom Alcc Munro had known and thought
|
| 6051 |
so much of.
|
| 6052 |
The donor, it should be noted, is unlikely to have witnessed
|
| 6053 |
the circumstances she describes. The work may date from the
|
| 6054 |
carly 1860s when the artists in the circle of Rossetti turned
|
| 6055 |
their attention to Greek subject-matter-the Trojan wars
|
| 6056 |
especially-which as medieval purists they had shunned in the
|
| 6057 |
1850s. A note in the Register reads, `From a slate pencil.
|
| 6058 |
Mrs Munro has some similar.'
|
| 6059 |
lk,.i`,,E',,
|
| 6060 |
@@PROCESS
|
135
|
| 6062 |
|
| 6063 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6064 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6065 |
Alcxandcr MUNRO ( 1825-71 )
|
| 6066 |
@@PROCESS
|
| 6067 |
553. Bust portrait of professor
|
| 6068 |
Goldwin Smith
|
| 6069 |
62.5 cms. (height); 28 cms. (length across chest); 22.I cms.
|
| 6070 |
(width)
|
| 6071 |
Plaster of I'aris. Hollow cast, with no evident seams. The plaster has
|
| 6072 |
been stained to a stone colour but this has worn off in some areas,
|
| 6073 |
especially on the chest. The nose has been broken off and lost. Chips
|
| 6074 |
are missing from the forehead. There are mottled mould stains on
|
| 6075 |
the chest.
|
| 6076 |
Given to the University by T. W. Jackson. In the Bodleian Library
|
| 6077 |
in L9\2 (.8. ine Poole, Catalogtte Of Portraits in the Possession Of
|
| 6078 |
£4c U#;pe7TG.ty ..., i (Oxford, 1912), 127, no. 323). Transferred to
|
| 6079 |
the Ashmolean Museum at an unrccorded date.
|
| 6080 |
The subject of the bust was identified by Mrs Herta Simon
|
| 6081 |
of Park Town in the summer of 1988. She also discovered
|
| 6082 |
the marble version of the bust in the basement of the Art
|
| 6083 |
Gallery of Ontario in Toronto in which city Professor
|
| 6084 |
Goldwin Smith ( 1823-1910; Regivs professor of Modern
|
| 6085 |
History at Oxford 1855nd6) lived with his wife from 1871,
|
| 6086 |
having emigrated to Noi±h America in 1868. A photograph
|
| 6087 |
of a version of the bust identifies it as made in Oxford in
|
| 6088 |
about 1866.
|
| 6089 |
@@PROCESS
|
| 6090 |
136
|
:i;,,,;;fiijt,.,,`r't,j'',;+F¥.,;.I,t.irEL,",1;:,:i:1,:,'l'::::'.I:.'i:':,;:.:,i;,;,:i:':,:;;#::,,,'apL#E;:
|
| 6092 |
Factory of J. NEALE, Hanley, Staffs.
|
| 6093 |
@@PROCESS
|
| 6094 |
554. Vase ornamented with
|
| 6095 |
medallions, masks, and swags
|
| 6096 |
29 cms. (height including wooden plinth); 2.2 cms. (height of
|
| 6097 |
wooden plinth); 8.9 cms. (length of wooden plinth); 8,7 cms.
|
| 6098 |
(width of wooden plinth); 6 cms. (height of masks including
|
| 6099 |
drapery below the neck)
|
| 6100 |
Crcamware. The body of the vase is thrown and the foot separately
|
| 6101 |
thrown and attached before firing. The ornaments are separately
|
| 6102 |
cast and attached also before firing. There are chips missing from
|
| 6103 |
the higher rim to the belt of leaf omancnt and from the noses of
|
| 6104 |
both masks. An overlap in the applied belt of leaves around the body
|
| 6105 |
of the vase may be discerned to proper right of the medallion of
|
| 6106 |
otho. The very dark, slightly grey, blue paint is applied to the vase
|
| 6107 |
in a dense speckled pattern presumably by some mechanical device.
|
| 6108 |
The inside of the neck is also coloured. The application is irregular:
|
| 6109 |
the stem and foot appear to be an almost uniform black and the
|
| 6110 |
upper part of the neck is also very dark. Much of the gilding has
|
| 6111 |
worn off. Although now only apparent in the hollows of the leaves
|
| 6112 |
it seems origivally to have covered them complctcly, as also all the
|
| 6113 |
unpainted omamcnts except perhaps the raised ornament around
|
| 6114 |
the rim of the foot. The underside of the foot reveals a pink cream
|
| 6115 |
unglazed body. It has not been broken off. The thin bolt passing
|
| 6116 |
from inside the vase and fixing it to the plinth appears to be oridnal
|
| 6117 |
and the ebonized wooden plinth must be a replacement for a
|
| 6118 |
separately fired ceramic one of similar dimensions and colour.
|
| 6119 |
Prove nance unrecordcd.
|
| 6120 |
Wedgwood made creaniware vases painted in imitation of the
|
| 6121 |
prestigious stones associated with the Romansngranitcs,
|
| 6122 |
porphyry, scrpcntinc, pc7idG ¢»f¢.co, jJo7¢#f¢7¢£# (which he
|
| 6123 |
translated as holygate), and agates-from the late 1760s.
|
| 6124 |
Those decorated in the fashion of this vase were intended to
|
| 6125 |
represent, or rather evoke, granite, as is clear from a letter to
|
| 6126 |
his partner Thomas Bentley of 13 February 1770 in which
|
| 6127 |
Wedgwood proposed that they `call those barely sprinkled
|
| 6128 |
with blue and ornaments Slt, gr¢#G.fG'. It is clear from the
|
| 6129 |
firm's catalogues that such vases were generally sold `in pairs
|
| 6130 |
or in sets of three, five or seven' (E. Mcteyard, IZJc Wcof2grood
|
| 6131 |
H¢„dfoo¢ (I.ondon,1875) ). Wedgwood also experimented
|
| 6132 |
with making the colour integral to the ceramic body as it was
|
| 6133 |
in the minerals imitated. And of course he was also anxious
|
| 6134 |
to imitate the hardness and texture as well as the colour of
|
| 6135 |
stones: hence he called his new vitreous red stoneware `rosso
|
| 6136 |
antico', his new fine, hard black stoneware `black basaltcs',
|
| 6137 |
and his new fine, hard, white stainablc stoneware `jasper'.
|
| 6138 |
Whereas one of the medallions here has the profile portrait
|
| 6139 |
of a Roman emperor and is stamped as such (M OTHO) the
|
| 6140 |
other has the profile portrait of a woman in cightcenth-century
|
| 6141 |
dress (perhaps Catherine the Great). The somewhat
|
| 6142 |
improvised character of the ornament extends also to the
|
| 6143 |
female masks which are probably from the sane mould: both
|
| 6144 |
heads are turned slighdy in one direction which suggests that
|
| 6145 |
the origival model was dcsigncd for a different purpose.
|
| 6146 |
Wedgwood's vases of this type are gcncrally mounted on
|
| 6147 |
Plinths of black basaltes (or occasionally on ones of white
|
| 6148 |
jasper ware) which are impressed with his mark. It is easy to
|
| 6149 |
imagive that the wooden plinth in this case replaces a broken
|
| 6150 |
basaltes one. However, it seems more likely that this is one
|
| 6151 |
of the close imitations of wedgwood's vases made probably
|
| 6152 |
in about 1780 by Nealc's factory. Thcrc is a vase of the same
|
| 6153 |
shape decorated with masks and swags and medallions in the
|
| 6154 |
Victoria and Albert Museum (304-1869) which has identical
|
| 6155 |
colouring, identical Slding, and an identical size of bead
|
| 6156 |
moulding and band of scrratcd leaves between raised edges.
|
| 6157 |
It is attributed to Nealc's factory on account of its very close
|
| 6158 |
similarity to another vase which is marked `J. Neale, Hanley'
|
| 6159 |
on its basaltes plinth in the same collection ( 1614-A-1871 ).
|
| 6160 |
Ncale was the brother-in-law of Henry Palmer, the previous
|
| 6161 |
proprietor of the factory at Church Works, Hanley. Nealc's
|
| 6162 |
partner from 1786, and eventually his successor, was Robert
|
| 6163 |
Wilson, and the factory became that of `Neale and Co.' and
|
| 6164 |
then that of `Neale and Wflson' (see W. Burton, A HS.Jfory
|
| 6165 |
and Description of English Eawihenware and Stoneware
|
| 6166 |
(Ijondon, 1904), 158-9).
|
| 6167 |
@@PROCESS
|
137
|
| 6169 |
|
| 6170 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6171 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6172 |
Oscar NEMON ( 1906-85)
|
| 6173 |
@@PROCESS
|
| 6174 |
555. Half-length portrait of Sir
|
| 6175 |
Karl Parker wearing an overcoat
|
| 6176 |
55.8 cms. (height)
|
| 6177 |
Plaster of Paris, painted black to simulate bronze. A few points of
|
| 6178 |
plaster remain white. Hollow cast.
|
| 6179 |
There is no record of the circumstances in which this sculpture was
|
| 6180 |
acquired by the Department, but it is likely to have been soon after
|
| 6181 |
the rctircment of parker as Kccper in 1962. It has always been placed
|
| 6182 |
on a high bracket in the south-west comer of the Print Room.
|
| 6183 |
jin outhne of Nemon's career is given in the introduction
|
| 6184 |
written by Sir John Rothenstein for the exhibition at the
|
| 6185 |
As;)nnriohean M:use:`im Oscar Nemon: Scttlptures Of Ottr Time
|
| 6186 |
( 1982), and in the obituary in the T¢.owcj of 16 April 1985.
|
| 6187 |
Ncmon's origivs wcrc obscure. His parents came from `what
|
| 6188 |
is now Yugoslavia' but his `background and education were
|
| 6189 |
international'. Having arrived in Oxford as a refugee he
|
| 6190 |
married, in 1939, Patricial Villiers-Stuart. `Though the Queen
|
| 6191 |
and the Queen Mother were among his sitters, along with
|
| 6192 |
such notables as I.ord Beaverbrook, Sir Max Beerbohm and
|
| 6193 |
Ijord Montgomery, he is probably best remembered for his
|
| 6194 |
innumerable images of winston Churchill. ' The Department
|
| 6195 |
records include many photographs of the plaster before it was
|
| 6196 |
painted.
|
| 6197 |
Oscar NEMON ( 1906-85)
|
| 6198 |
@@PROCESS
|
| 6199 |
556. Chow (Topsy)
|
| 6200 |
20.4 cms. (height, including plinth); 43.9 cms. (length of plinth);
|
| 6201 |
23.7 cms. (width of plinth)
|
| 6202 |
Plaster of Paris, painted green to simulate bronze. Hollow cast.
|
| 6203 |
Inscribed in red paint on white plaster of the interior: `Oscar
|
| 6204 |
Nemon / Presented by Miss Fielder / 1968'.
|
| 6205 |
Given by Miss H. E. Fielder of The I.ane House, Norham Road,
|
| 6206 |
Oxford, in 1968. It was offered to Mr I.owe on 20 January 1968
|
| 6207 |
and had arrived by 26 January. It was apparently given by the
|
| 6208 |
sculptor to the donor's father, Professor Fielder.
|
| 6209 |
A memorandum in the Dcpartment's archives dated 30 April
|
| 6210 |
1969 by Ion I.owe, then an Assistant Keeper in the
|
| 6211 |
Department, records a conversation with the artist in his
|
| 6212 |
studio, Friary Court, St James's Palace.
|
| 6213 |
Princess Marie Bonapartc had two Chow Chows called Topsy and
|
| 6214 |
Tattoo. O.N. made models of both. She wrote a book on them,
|
| 6215 |
and analysed the dogs, having been a pupil of Freud. Freud himself
|
| 6216 |
had one of their puppies; another puppy belonged to Princess
|
| 6217 |
Marina. The models were made about 1936, certainly before the
|
| 6218 |
War. They were exhibited in Belgium in August 1936 and life-size
|
| 6219 |
models in bronze survive in Brussels. The sculptor brought two
|
| 6220 |
plaster models to England, this one and another showing the Chows
|
| 6221 |
standing. They arc `my first dogs and my last in this life'. O.N.
|
| 6222 |
worked at the Princess's residence in Paris, and was there visited by
|
| 6223 |
the Queen of the Belgians . . .
|
| 6224 |
That, however, did not make him a good sculptor. See also
|
| 6225 |
No. 555.
|
| 6226 |
@@PROCESS
|
139
|
| 6228 |
|
| 6229 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6230 |
Joseph NOLLEKENS RA ( 1737-1833)
|
| 6231 |
@@PROCESS
|
| 6232 |
557. Idealized portrait bust of
|
| 6233 |
Maria, Mrs Henry Howard of
|
| 6234 |
Corby
|
| 6235 |
60,5 cms. (height including socle); 11 cms. (height of socle);
|
| 6236 |
21 cms. (diameter of soclc)
|
| 6237 |
Carrara marble, somewhat discoloured with dirt. There arc a few
|
| 6238 |
minute flaws in the marble, notably to proper left of the chin and
|
| 6239 |
neck. The uppermost fold of drapery is missing a few chips, as is the
|
| 6240 |
most prominent fold between the breasts, and the cnd of the drapery
|
| 6241 |
as it hangs down to proper left has been broken off. `Nollekens F!'
|
| 6242 |
is chisellcd across the supporting trunk of marble in the hollowed
|
| 6243 |
back of the bust.
|
| 6244 |
Bought at Christic's, London, 21 January 1965, lot 11, using the
|
| 6245 |
Bouch Bequest Fund. RCSstered on 28 January. The vendor was
|
| 6246 |
Major W. W. Dowding of The Manor, Manningford Bruce, Pewsey,
|
| 6247 |
Wiltshire, who recalled that he had bought the bust eight years
|
| 6248 |
previously from Alfred Spero, the sculpture dealer, at the Ijondon
|
| 6249 |
Antique Dealers Fair. Mr Spero thought that he had bought it from
|
| 6250 |
another dealer, Marcussen, but had no record of the transaction
|
| 6251 |
(letters of 26 February and 21 April 1965 and notes in the
|
| 6252 |
Department's archive).
|
| 6253 |
The tight and circulating rhythm of the drapery and the
|
| 6254 |
termination of the bust just below the breasts are entirely
|
| 6255 |
characteristic of Nollckcns, but the bust is obviously no
|
| 6256 |
ordimry portrait but rather an `anima beata' in the tradition
|
| 6257 |
of Bernini's famous ideal head, now more classical in
|
| 6258 |
treatment. The debt to the expressive heads of Niobe and
|
| 6259 |
the niobids reminds us not only that Nollekcns is known to
|
| 6260 |
have studied the antique Niobc group in Florcncc (there are
|
| 6261 |
drawings in a sketchbook in the Ashmolean) but also that hc
|
| 6262 |
actually owned a notable antique version of the head of Niobe
|
| 6263 |
which he sold to the earl of Exeter (today at Brocklesby Park,
|
| 6264 |
Lincolnshire). The no less obvious inspiration which the
|
| 6265 |
treatment of the hair owes to the bust of `Clytie' of the
|
| 6266 |
Townley Collection reminds us that Nollekens was not only
|
| 6267 |
an intimate of Townley's but was said to have frequently
|
| 6268 |
copied that bust in marble.
|
| 6269 |
The Keeper of the Department in 1965, Ian Robertson,
|
| 6270 |
was convinced that this bust was a portrait of Emma, Ijady
|
| 6271 |
Hamilton. An alleged similarity to a head on the Warwick
|
| 6272 |
Vase which Sir William Haniilton was supposed to have had
|
| 6273 |
modeued on Emma prior to selling the vase to his nephew
|
| 6274 |
`confims the identification', he wrote over-optimistically in
|
| 6275 |
the A""„¢/ Rcporf (1965: 56-7). He proposed 1791 as the
|
| 6276 |
year in which the work was exccutcd because that was the
|
| 6277 |
year of Emma's return to London from Naples when she did
|
| 6278 |
indeed sit to numerous artists. However, there is no
|
| 6279 |
contemporary record of her sitting to Nollekens and it is odd
|
| 6280 |
that thcrc is no recouection of such an important portrait in
|
| 6281 |
J. T. Smith's biography. The bust was included in the
|
| 6282 |
c;xINkjriron Lady Hamilton in Relation to the Art Of her Time
|
| 6283 |
held at Kenwood House, London, 1972 (p. 47 in the
|
| 6284 |
catalogue by Patricia Jaife ), and in 777c A77iogr¢7¢f Co""o¢.ftG"r..
|
| 6285 |
@@PROCESS
|
| 6286 |
140
|
| 6287 |
R¢.c47¢7id P¢y7¢c Kce¢j¢f, held at the Whitworth Art Gallery,
|
| 6288 |
Manchester,1982, where, however, I catalogued it (no. 61,
|
| 6289 |
p.143) as `perhaps of Emma Hamilton' with the observation
|
| 6290 |
that `The theatrical character suggests Lady Hamilton's
|
| 6291 |
accomplishments but for this reason also it can only be an
|
| 6292 |
approximate likeness, and it is not entirely certain that this
|
| 6293 |
bust represents her'. There is really no good reason to suggest
|
| 6294 |
that it docs represent her.
|
| 6295 |
The bust rescmblcs very closely indeed Maria the wife of
|
| 6296 |
Henry Howard of Corby in Nollckcns's reclining statue of
|
| 6297 |
her comforted by a personification of ReliSon-nc of his
|
| 6298 |
most beautiful and famous works-in Wethcrall Church,
|
| 6299 |
Cumberland. Mrs Howard died in childbed in 1788 and the
|
| 6300 |
monument was presumably commissioned soon afterwards,
|
| 6301 |
but the model was not exhibited at the Royal Academy until
|
| 6302 |
1800 (no.1082, `A monumental group to the memory of a
|
| 6303 |
lady who died in child-bed, supported by Religion, ctc.') and
|
| 6304 |
the marble was only erected in 1803. The similarity has
|
| 6305 |
cscapcd notice perhaps because of the angle of most of the
|
| 6306 |
photographs taken of the sculpture in Wetherall (but see N.
|
| 6307 |
Penny, `English Church Monuments to Women who died in
|
| 6308 |
chi."dleed: , ]ottrmal of the Warbttrg and Cottrtauld Institutes,
|
| 6309 |
38 (1975), pl. a, opposite p. 320). It was whouy characteristic
|
| 6310 |
of Nollekens to make a bust version as well as a full-length
|
| 6311 |
effigy (he did the same for Mrs Pclham, whose statue in the
|
| 6312 |
Brocklcsby Mausoleum, however, needed less adaptation
|
| 6313 |
since it was not reclining). The drapery and the turn of the
|
| 6314 |
head have been changed somewhat for the bust, but the face
|
| 6315 |
is the same and so is the hair in every single lock. The portrait
|
| 6316 |
must have been posthumous and the sculptor may not even
|
| 6317 |
have been given other portraits to refer to. In any case young
|
| 6318 |
wives in commemorative sculpture in this period were as
|
| 6319 |
idcalized in treatment as personifications of ReliSon.
|
| 6320 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6321 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6322 |
Perhaps by Joseph NOLLEKENS ( 1737-1823)
|
| 6323 |
@@PROCESS
|
| 6324 |
558. Oliver Cromwell
|
| 6325 |
60.5 cms. (height excluding socle); 13.2 cms. (height of soclc);
|
| 6326 |
22.7 cms. (diameter of soclc)
|
| 6327 |
Carrara marble. There are small chips on the edge of the armour at
|
| 6328 |
the proper left shoulder and a larger loss to the collar to proper left.
|
| 6329 |
There is a slight crack across the proper left shoulder. The bust is
|
| 6330 |
mounted on a tuned socle of Siena marble (dark mustard yellow
|
| 6331 |
flecked with grey). This does not fit the shape of the lowest portions
|
| 6332 |
of the marble bust which rest upon it and cannot be original. `o?
|
| 6333 |
CROMWELL' is chiselled on the tablet below the cutting of the chest
|
| 6334 |
above the turned socle. `E. Pierce Fecit' is chisclled on the face of
|
| 6335 |
this tablet to proper left with the last two letters `. . .it') continued
|
| 6336 |
on the reverse face.
|
| 6337 |
Bought with a fund presented by Magdalen College in 1920 from
|
| 6338 |
E. A. V. Stanley previous to the sale on 6-17 September by Morris,
|
| 6339 |
Son and Pcard of the contents of Quantock IJ)dge near Bridgwater,
|
| 6340 |
Somerset-Mr Stanley `liberally consented to reserve it from the
|
| 6341 |
auction and cede it to the museum at an agreed valuation' (A""#¢/
|
| 6342 |
RcPo77 ( 1920) 16-17). It was purchased `towards the close of the
|
| 6343 |
first half of the last century from Harman the I.ondon dealer, by
|
| 6344 |
Henry I.abouchere, I.ord Taunton' (ibid. ). I.ord Taunton's
|
| 6345 |
collection was kept at Stoke Park, but removed to Quantock I-odgc
|
| 6346 |
after his death in 1869. In the Museum the bust was displayed as
|
| 6347 |
a companion with Picrce's bust of wren, first in the Eldon Room
|
| 6348 |
(now the Founder's Room) and subsequently in the Tapestry Gallery.
|
| 6349 |
It was removed in 1989 to the Weldon Gallery. The soclc rested
|
| 6350 |
upon a massive baluster-shaped pedestal which was transferred in
|
| 6351 |
1987 to the bust of the carl of Arundel (No. 472). This pedestal
|
| 6352 |
was described in the A7G„"¢/ RGPo7? for 1924. It was made of
|
| 6353 |
`Sicilian marble' (a slightly grey, very durable Carrara marble, known
|
| 6354 |
as Ravaccionc in Italy) `to harmonise with the old baluster base of
|
| 6355 |
the bust of wren, but . . . simpler and less sculpturcsque in character'.
|
| 6356 |
C. F. Bell had it `copied from the pillar supporting the font in St.
|
| 6357 |
Margaret's, Westminster, designed by Nicholas Stone. The front is
|
| 6358 |
ornamented with a shield of arms of the Commonwealth and
|
| 6359 |
Cromwell copied from a medal by Thomas Simon.'
|
| 6360 |
A bust of Cromwen in bronze in the Museum of London is
|
| 6361 |
signed by Pierce and dated 1672. In this portrait, the head,
|
| 6362 |
which has bccn cast separately, seems to be related to the
|
| 6363 |
mask now at Chcqucrs which has sometimes been thought
|
| 6364 |
to have been made for Cromwcll's finily in 1655 (but on
|
| 6365 |
this point see D. Piper, `The Contemporary Portraits of
|
| 6366 |
Oliver Cromwell', W¢/Po/G Soc¢.ety, 34 ( 19524), 41 ). Marble
|
| 6367 |
copies exist of which a notable one is in the Wemyss
|
| 6368 |
Collection at Gosford House. This type is much less vivid as
|
| 6369 |
a portrait than the Ashmolean's marble bust which, as Mrs
|
| 6370 |
Poole remarks, `impresses the spectator with great force as a
|
| 6371 |
portrait from lifc'. But it would be rash to conclude, with
|
| 6372 |
her, that `it belongs in all probability to the last years of health
|
| 6373 |
of the protector's life' (`Edward Picrcc the Sculptor', W¢/po/c
|
| 6374 |
SocG.rty, 11 ( 1923), 38) for vivid portraits are often made long
|
| 6375 |
after a sittcr's death. Mrs Poole also notes that this is `in all
|
| 6376 |
probability' the marble bust which Walpolc records as sold at
|
| 6377 |
auction in 1714, but there is no way of telling that it was not
|
| 6378 |
a marble copy of the 1672 bronze to which Walpole referred.
|
| 6379 |
No one sccms to have questioned the attribution of the
|
| 6380 |
@@PROCESS
|
| 6381 |
142
|
| 6382 |
Ashmolean bust, and yet the chiselled lettering of Picrce's
|
| 6383 |
name is not close to that found on the London Museum
|
| 6384 |
bronze, does not fit into the side of the tablet, and is not
|
| 6385 |
seventeenth century in style. Moreover, the bust bears no
|
| 6386 |
resemblance to any other sculpture by Pierce. Busts of
|
| 6387 |
Cromwell were exceedingly popular in the eighteenth century
|
| 6388 |
and were made by all the leading sculptors: Rysbrack,
|
| 6389 |
Roubiliac, Wilton, and Nollekens. The treatment of the curls
|
| 6390 |
around the ears in this case is particularly close to those in
|
| 6391 |
Nollekcns's work-see, for instance, the bust of sir George
|
| 6392 |
Savilc of 1784 in the Victoria and Albcrt Museum or the
|
| 6393 |
celcbratcd first bust of Charles James Fox at Holkham Hall,
|
| 6394 |
Norfolk; the cutting of iris and pupil is exactly in his manner;
|
| 6395 |
the detail of the lion badge on the chest is suggestive of his
|
| 6396 |
taste in ornaments; and the compact and rounded outline of
|
| 6397 |
the bust is typical of him. The bust of Cromwell which is
|
| 6398 |
listed by J. T. Smith in No//cfec„f ¢»¢ H¢.f T¢.7„cf (I.ondon,
|
| 6399 |
1828) has not, it seems, been traced. I believe that it is this
|
| 6400 |
bust to which the name of Picrcc was added in the mid-ninetccnth
|
| 6401 |
century to increase its value as an authentic likeness.
|
| 6402 |
An unsigned terracotta version of this bust was acquired in
|
1861 for the National Portrait Gallery (no. 438, kept in storc-
|
| 6404 |
D. P.rper. Catalogt4e Of Seventeenth-Centttry Portraits in the
|
| 6405 |
National Portrait Gallery 1625-1714 (Carrtondge. \963),
|
| 6406 |
96). The chest is squared off to form a herm and considerably
|
| 6407 |
reduced in size (the height is 41.9 cms.). The head looks too
|
| 6408 |
large and this treatment does not suit the armour. It is clearly
|
| 6409 |
not the origival design. The detail is not crisp and inspection
|
| 6410 |
of the rear of the bust reveals that it is cast, presumably from
|
| 6411 |
moulds taken from Nollekens's original model which had
|
| 6412 |
perhaps been modified (because of damage?) to this shape.
|
| 6413 |
In any case this is not a seventeenth-century work, since the
|
| 6414 |
Greek termination for a portrait bust was then unknown and,
|
| 6415 |
since it is cast, it is not the model for the marble bust as has
|
| 6416 |
been claimed. Mrs Poolc was right to observe the significance
|
| 6417 |
of the terracotta having belonged to the sculptor J. I.oft who
|
| 6418 |
was intercstcd in imaginary historical portraiture (ibid. 39 n.)
|
| 6419 |
and Piper was right to suspect that it was `ninetcenth-century
|
| 6420 |
work,.
|
| 6421 |
A bust of Cromwell simhar to that in the Ashmolcan was
|
| 6422 |
sold at Phillip's, I.ondon (3 July 1990, lot 229). The only
|
| 6423 |
major differcncc is that this version has a cloak covering much
|
| 6424 |
of the armour and fastened at the proper left shoulder, making
|
| 6425 |
a happier composition. `ULIVIERO CROMWEL[.' is chisclled on
|
| 6426 |
the tablet, which suggests an Italian origin. Another version
|
| 6427 |
of this type, with minor differences in the drapery, was sold
|
| 6428 |
on 6 July 1986 at Christie's, I.ondon, as lot 73-`F. Harwood
|
| 6429 |
Fecit 1759' was chisellcd on the socle. Patricia Wengraf, who
|
| 6430 |
bought the version sold at Phillip's, accepts Harwood as the
|
| 6431 |
inventor of this bust. Harwood had a flourishing practice in
|
| 6432 |
Florence during the 1750s and 1760s and, Mrs Wcngraf
|
| 6433 |
points out, he could have studied the plaster death mask of
|
| 6434 |
Cromwell now in the Bargcllo in Florence as well as Thomas
|
| 6435 |
Simon's Dunbar Medal of 1651 and, of course, prints. I have,
|
| 6436 |
however, seen no evidence that Harwood had the talent to
|
invent a bust of this character and none of his oriSnal work-
|
| 6438 |
BRITISH SCULI'TURES, BY ARTIST'S NAME
|
| 6439 |
the tomb of william, 2nd Earl Cowpcr, at Hertingfordbury
|
| 6440 |
completed in 1770, for example-is close in style. Most of
|
| 6441 |
his work as a sculptor seems to have been copying the work
|
| 6442 |
of others. That he was able to copy an invention by Nollekens
|
| 6443 |
is easy to believe especially if the orialnal model was made by
|
| 6444 |
Nollckens when he was in Rome between 1762 and 1770.
|
| 6445 |
That this was indeed the case is suggested by the very similar
|
| 6446 |
treatment of Cromwell's armour to that worn by the duke of
|
| 6447 |
York in the bust modeucd by Nollekens in Rome in 1764. It
|
| 6448 |
is also suggested by the treatment of the features, especially
|
| 6449 |
the frown, which recalls the bust of Piranesi in the Accadcmia
|
| 6450 |
di San Luca in Rome, which is the finest of all early portraits
|
| 6451 |
by Nollekcns (both rcproduccd in J. Kenworthy-Browne,
|
| 6452 |
`Establishing a Reputation: Joseph Nollekens: The Years in
|
| 6453 |
Rome-I', Co%#try L¢rc (7 )une 1979),1844-8). It would
|
| 6454 |
not have been extraordinary for Harwood to place his own
|
| 6455 |
name on Noll€kens's invention-nor to add a date which
|
| 6456 |
seemed to make Nollekens's invention impossible. The stylistic
|
| 6457 |
evidence in favour of Nollckens's authorship seems to me to
|
| 6458 |
be too strong to bc shaken by the undoubted connection
|
| 6459 |
with Harwood.
|
| 6460 |
@@PROCESS
|
143
|
| 6462 |
|
| 6463 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6464 |
Edward PIERCE ( c.1630-95 )
|
| 6465 |
@@PROCESS
|
| 6466 |
559. Sir Christopher Wren
|
| 6467 |
66. I cms. (height, including socle); 9 cms. (height of soc[e);
|
| 6468 |
17 cms. (diameter of socle); 126.8 cms. (total height of pedestal
|
| 6469 |
as constituted at present); 83 cms. (height of principal baluster
|
| 6470 |
component of the pedestal)
|
| 6471 |
Carrara marble. There is a small chip missing from the shirt front to
|
| 6472 |
proper right and one curl on the same side has been broken off.
|
| 6473 |
The marble is streaked with grey which is particularly evident on the
|
| 6474 |
bare chest. The turned socle is made from a separate piece of marble.
|
| 6475 |
This socle had been cracked and a small portion detached and
|
| 6476 |
inadequately glued-this was replaced with polyester stone cement
|
| 6477 |
in June 1969 by Kathleen Kimber and C. P. Bartram of the
|
| 6478 |
Department of Antiquities. They removed the dirty and waxy surface
|
| 6479 |
of the marble with methane chloride, an acetone swab, and a `pack'
|
| 6480 |
of scpolite (magnesium silicate) and washed it with dcionized water.
|
| 6481 |
Given to the University by the son of the sitter, Mr. Christopher
|
| 6482 |
Wren, in 1737. Displayed during the eighteenth century in the
|
| 6483 |
Picture Gallery, and, by the end of the nineteenth century, in the
|
| 6484 |
Tower Room, of the Bodleian Library. Transferred, by Decree of
|
| 6485 |
Convocation in 1916, to the Ashmolean Museum, at the instigation
|
| 6486 |
of C. F. Bell-gainst `considerable opposition'-nd displayed in
|
| 6487 |
the Founder's Room, then known as the Eldon Room, against the
|
| 6488 |
Gobclins tapestry of the combat of animals and in the company of
|
| 6489 |
French and Italian seventeenth- and eighteenth-century paintings.
|
| 6490 |
It was still placed there in 1931. For many years it was displayed in
|
| 6491 |
the Tapestry Gallery. It was removed in 1987 to the Weldon Gallery.
|
| 6492 |
The pedestal, apparently given it by Bell, consisted of a bulbous
|
| 6493 |
baluster support ( boldly gadrooned in its lower part and carved with
|
| 6494 |
acanthus in its stem such as one might expect for a sundial of the
|
| 6495 |
late seventeenth century), raised on a block of marble and with two
|
| 6496 |
additional blocks on top the uppermost of which, a cube of po#o
|
| 6497 |
pccecrc (black marble with liquid yellow veins), was removed when
|
| 6498 |
the bust was placed in the Weldon Gallery.
|
| 6499 |
The bust of the most popular of British architects is the most
|
| 6500 |
celebrated achievement of Pierce and one of the most loved
|
| 6501 |
of all British sculptures-`onc of those rare treasures, a great
|
| 6502 |
work of art which is also the portrait of a very great man'
|
| 6503 |
(R L. Poolc, `Edward Pierce the Sculptor', W¢/Po/G Soc¢.Gay,
|
| 6504 |
11 ( 1923), 40); `probably the best piece of sculpture made
|
| 6505 |
by an Englishman in the Century' (M. Whinney and 0. Millar,
|
| 6506 |
E„g/¢.£4 A7? 1625-1714 (Oxford, 1957), 255).
|
| 6507 |
The attribution to Pierce is made in a letter by the donor
|
| 6508 |
written in 1742 which was quoted by Vcrtue in his notebooks:
|
| 6509 |
`thc bust was the performance of Edward Pierce about the
|
| 6510 |
year 1673' (`Notebooks', v, W¢/Po/c Soc¢.cty, 26 ( 1938), 9).
|
| 6511 |
The drama of such a broad triangular composition upon a
|
| 6512 |
small turned socle and of voluminous drapery, hastily pulled
|
| 6513 |
across the chest, with loose shirt, and disordered locks each
|
| 6514 |
played off against the other, represent responses to Bernini's
|
| 6515 |
portrait bust of Franccsco I d'Este (completed in 1651) and
|
| 6516 |
its numerous imitators, responses sinilar to those of the
|
| 6517 |
French sculptor Antoine Coysevox.
|
| 6518 |
Coysevox's faces are frequently given the alert conviviality
|
| 6519 |
we see here and a comparison with his work is made by
|
| 6520 |
Whinney in her discussion of this portrait (op. cit.) but taken
|
| 6521 |
no further. And yet when the bust is examined in relation to
|
| 6522 |
@@PROCESS
|
| 6523 |
144
|
| 6524 |
Coysevox's bust of Charles Lebrun (the marble in the I.ouvre
|
| 6525 |
is dated 1679 but the terracotta in the Wallace Collection
|
| 6526 |
may be the model submitted to the Academy in 1676) it is
|
| 6527 |
surely only habit, supported by patriotism, that restrains
|
| 6528 |
scholars from wondering whether the Ashmolean's marble is
|
| 6529 |
not in fact a copy by Pierce of a lost bust, perhaps in fraSle
|
| 6530 |
terracotta, by Coysevox. The marble certainly looks like a
|
| 6531 |
copy: the boldness of the conception is simply not matched
|
| 6532 |
by an equivalent verve in the execution. And it is surely
|
| 6533 |
extraordinary that Pierce, had he invented a bust of this
|
| 6534 |
sophistication and vitality, should never have achieved
|
| 6535 |
anything comparable in his other bust portraits. His bust of
|
| 6536 |
Thomas Evans which he made in 1688 for the Painter-Stainers
|
| 6537 |
Company (Poole, op. cit., pl. XXIIIa) has similar ambitions,
|
| 6538 |
but it has nothing of this sweep in its drapery, whilst the
|
| 6539 |
empty arms give a feebleness to the whole treatment of the
|
| 6540 |
chest, and the curls of the wig are fat and coarse. If there was
|
| 6541 |
a model by Coysevox (or another French sculptor) which
|
| 6542 |
Pierce was copying, then there remains a problem of when
|
| 6543 |
and where it was made, for 1665, when we know Wren to
|
| 6544 |
have been in Paris, is too early a date, and although it is
|
| 6545 |
perfectly possible that Wren travelled to Paris again in the
|
| 6546 |
early 1670s, no such visit is recorded. An interesting later
|
| 6547 |
example of a distinguished Englishman obtaining a terracotta
|
| 6548 |
portrait by Coysevox in Paris is that of the diplomat and poet
|
| 6549 |
Matthew Prior (it was subsequently incorporated into his
|
| 6550 |
monument in Westminster Abbey).
|
Tr-
|
| 6552 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6553 |
I:,,,,,,`::;:::..,.:`.:-::,-,;:-::::;;i::
|
| 6554 |
@@PROCESS
|
145
|
| 6556 |
|
| 6557 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6558 |
After a work attributed to Edward PIERCE ( c.1630-95)
|
| 6559 |
@@PROCESS
|
| 6560 |
560. Portrait head probably of John
|
| 6561 |
rmton
|
| 6562 |
29.3 cms. (height)
|
| 6563 |
Plaster of I'aris coloured to resemble greyish yellow clay. Solid cast.
|
| 6564 |
Subscribed for by C. F. Bell in 1925 in his official capacity as Keeper
|
| 6565 |
of the Department of Fine Art and acquired in 1926 (A»7?#¢/
|
| 6566 |
Report`24).
|
| 6567 |
The cast is an accurate reproduction, including cracks and
|
| 6568 |
loose fillings, of the portrait, generally accepted as of Milton,
|
| 6569 |
in unbaked clay which was bequeathed to Christ's Couege,
|
| 6570 |
Cambridge, by the Revd John Disney in 1816, having passed
|
| 6571 |
through the collections of Thomas Brand Hohis, Sir Joshua
|
| 6572 |
Reynolds, and George Vcrtue. (For a full account of this see
|
| 6573 |
I .W . Goodison. Catalogtte Of the Portraits in Christ's, Clare
|
| 6574 |
¢"d Sz.¢„ey S#jrex Co//egcf ( Cambridge, 1985), 26-7, no. 54. )
|
| 6575 |
Vertue believed the clay head to be by Pierce, but Hollis
|
| 6576 |
recorded his `imprcssion' that it was `modelled by Abraham
|
| 6577 |
Simon' (jn4lc7„o¢.7tf (I.ondon,1780), ii. 513)-Simon was a
|
| 6578 |
noted medallist and wax modeller but no comparable-sized
|
| 6579 |
portrait by him seems to have survived. A marble copy of the
|
| 6580 |
clay head was made by Horace Montford in 1903 (Goodison,
|
| 6581 |
op. cit. 27, no. 56). In 1925 a cast of the clay head was made
|
| 6582 |
for the National Portrait Gallery (no. 2102), and six additional
|
| 6583 |
casts were subscribed for by the Master of Christ's College
|
| 6584 |
(Sir Arthur Shipley who bequcathcd it to his college in 1927),
|
| 6585 |
C. F. Bell, Sir Edmund Gosse, the Victoria and Albert
|
| 6586 |
Museum, the Scottish National Portrait Gallery (2102), and
|
| 6587 |
the National Gallery of victoria, Melbourne, Australia (ibid.
|
| 6588 |
27, no. 55. n. f). Bell had purchased what he believed to be
|
| 6589 |
Pierce's bust portrait of Cromwell in 1920 (No. 558) and
|
| 6590 |
had organized the transfer of the portrait of wren from the
|
| 6591 |
Bodleian in 1916 (No. 559).
|
| 6592 |
-th_
|
| 6593 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6594 |
Frederick Wman POMEROY ( 1856-1924)
|
| 6595 |
After Niccol6 Tribolo ( 1500-50)
|
| 6596 |
@@PROCESS
|
| 6597 |
561. Piping satyr astride a vase
|
| 6598 |
28.1 cms. (height, including integral base); 1.15 cms. (height of
|
| 6599 |
integral base)
|
| 6600 |
Bronze with a dull dark brown patina worn to a pale tan on some
|
| 6601 |
salient curls and the shoulder blades. Hollow, lost-wax, cast. `Cast
|
| 6602 |
by F. W. Pomeroy from the oriSnal in the Bargell-for Mr
|
| 6603 |
Fortnum' is painted in white in the hollow interior of the base.
|
| 6604 |
Possibly part of the bequest of c. D. E. Fortnum (see description
|
| 6605 |
above) although unmentioned in his catalogues. More probably the
|
| 6606 |
`bronze figure of a satyr. Italian, sixteenth century' recorded with
|
| 6607 |
no provenance in the Donations Book under 1933 which cannot
|
| 6608 |
be identified with any other bronze now in the Ashmolean.
|
| 6609 |
The bronze satyr is a copy by Pomcroy of one in the Bargcllo,
|
| 6610 |
Florence (inventory number 390; no. 30 in the MS catalogue
|
| 6611 |
of 1879; previously Uffizi 2551-63) which had been suggested
|
| 6612 |
as a work by Michelangelo in the late nineteenth century.
|
| 6613 |
century. Since then it has been attributed to Pietro Tacca,
|
| 6614 |
Danese Cattaneo, and Tiziano Minio and, more vaguely, it
|
| 6615 |
has been regarded as `Paduan'. However, J. Holderbauni
|
| 6616 |
(`Notes on Tribol-I', 8%„/G.#:g}o# jl4:¢g#2;¢.#G (Oct. 1957),
|
| 6617 |
@@PROCESS
|
| 6618 |
340) pointed out the strong probabhity that it was the bronze
|
| 6619 |
docuinented as being cast for the grand duke of Tuscany by
|
| 6620 |
Zanobi I'ortiSani (de' Pagni) on 18 April 1549 from a model
|
| 6621 |
of `uno satiro' made by Tribolo. Pomeroy's copy is very
|
| 6622 |
accurate but the base is slightly less high and one of the horns
|
| 6623 |
has lost its cnd. Also of course in the original the erect penis
|
| 6624 |
is not concealed by a branch.
|
| 6625 |
Pomeroy was first apprenticcd to a firm of architectural
|
| 6626 |
carvers and studied at the Lambcth School of Art. Hc was
|
| 6627 |
then admitted to the Royal Academy Schools in December of
|
| 6628 |
1880. In the summer of 1885 he won the gold medal and
|
| 6629 |
travehing studentship which enabled him to study in Paris
|
| 6630 |
(under Merci€) and then in Italy. There seems to be no
|
| 6631 |
record of him returning to Italy, so if he copied the origival
|
| 6632 |
in Florence his model would date from this visit ( c.1886). In
|
| 6633 |
any case, the cast would have to have been made before
|
| 6634 |
Fortnum's death in 1899. The popularity of the small bronze
|
| 6635 |
statuette, the revival of lost-wax casting, and the fascination
|
| 6636 |
with nymphs, fauns, and satyrs so conspicuous in English
|
| 6637 |
sculpture in the last years of the nineteenth century are not
|
| 6638 |
easily connected with the tastes of scholarly collectors of
|
| 6639 |
Renaissance art such as Fortnum-xcept inasmuch as
|
| 6640 |
Fortnum was involved in the formation of the collection of
|
| 6641 |
the Victoria and Albcrt Museum. But that at least one direct
|
| 6642 |
link existed is suggested by the inscription on this bronze.
|
| 6643 |
What the inscription does not make clear is whether the idea
|
| 6644 |
of making such a copy cane from Fortnun. Even if it did,
|
| 6645 |
his was not the only cast that Pomcroy made.
|
| 6646 |
T`+.€. Pescrjp_i_i_p_: Catalogue of a Small Collection Principally
|
| 6647 |
a/XV£¢ ¢»d XVI£¢ Cc#f%ry 87o„zcf printed privately
|
| 6648 |
(apparently in an edition of 20 copics! ) in 1900 records the
|
| 6649 |
Collection of Henry Pfungst when it was sold to the dealers
|
| 6650 |
Durlacher and vycrtheimer who then sold it, in the surrmer
|
| 6651 |
@@PROCESS
|
147
|
| 6653 |
|
| 6654 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6655 |
of 1901, to J. Picrpont Morgan. No. 15 on page 3 is `Figure.
|
| 6656 |
11 inches. I'an playing on the pipes, seated on an urn-shaped
|
| 6657 |
vase. Reproduction in the c¢.7c PG7i¢# process by F. W.
|
| 6658 |
Pomeroy, with a slight alteration from the origival in the
|
| 6659 |
Bargello, Florence, said to be the work of Michael Angelo.'
|
| 6660 |
It is interesting that Pfungst was a collector who was closely
|
| 6661 |
in touch with Fortnum (see No. 233 for transactions between
|
| 6662 |
them and Nos. 201 and 203 for other items from Pfungst's
|
| 6663 |
collection). Pfungst's version was not recorded in Bode's
|
| 6664 |
catalogue of Morgan's collection of bronzes (which confined
|
| 6665 |
itself to older items) but passed to the Brummer and Chester
|
| 6666 |
Tripp Collections and has recently been bequeathed to the
|
| 6667 |
Art Institute, Chicago. It differs from the Ashmolean cast
|
| 6668 |
only in that the base is not open and in that it carries two
|
| 6669 |
marks both incised in the wax model: on the base behind the
|
| 6670 |
vase there is a P and below the base a monogram consisting
|
| 6671 |
of a P with two Fs interlacing and a small 2 after it.
|
| 6672 |
Both the Ashmolean and Chicago casts declare themselves
|
| 6673 |
to be modern reproductions by the c¢c¢e-fc:A;c, but another
|
| 6674 |
cast without this and without any evident marks was sold by
|
| 6675 |
a descendant of Pomeroy's at Phillips, I.ondon, on 30 June
|
| 6676 |
1987 (lot 74). Various other casts without the c¢c¢G-fc#e arc
|
| 6677 |
recorded. One at Sotheby's, I.ondon, on 4 November 1988,
|
| 6678 |
lot 86, certainly looked like Pomeroy's work. Those for sale
|
| 6679 |
at the Chatcau de Laame, Brussels, C¢£Ofog#c dc /'erpof¢.£¢.o7¢
|
| 6680 |
de bronaes de la Renaissance (Se;pt.-Oct. +967)> no. 25 (ex
|
| 6681 |
cat. as by Tribolo) and as lot 295, Christie's, New York, 20
|
| 6682 |
November 1982 (as after Tribolo)-both drawn to my
|
| 6683 |
attention by Ian Wardroppcr-I have not seen. It is tempting
|
| 6684 |
to associate these latter two versions (conceivably the same
|
| 6685 |
version) with Pomcroy, but one other example in a public
|
| 6686 |
collection, that in the Walters Art Gallery, Baltimore (54.626,
|
| 6687 |
purchased from Jacques Scligmann in Paris in the carly
|
| 6688 |
decades of the century), looks like an aftercast which has been
|
| 6689 |
tooled, unlike the casts by Pomeroy, and is also of a different
|
| 6690 |
colour, which suggests that someone else may have been
|
| 6691 |
reproducing Tribolo's vigorous and lewd little S¢tyy. In this
|
| 6692 |
connection it is significant that a terracotta cast of the `Piccolo
|
| 6693 |
Satira da originale in bronzo di Pietro Tacca', 27 cms. in
|
| 6694 |
height, is listed (as no. 535, XLII) in the catalogue of the
|
| 6695 |
`Manifattura di Signa: Terre Cotte artistichc e decorative'
|
| 6696 |
which had premises in Florence (Via dc' Vecchietti 2), Rome
|
| 6697 |
(Via del Babuino 50), Turin (Via Accademia Albertina 5),
|
| 6698 |
and Paris (rue Chaussee d'Antin 12) dating from about 1910.
|
| 6699 |
@@PROCESS
|
| 6700 |
148
|
| 6701 |
;:;..,;T,;,..\,.,,,,"ys,,.::,,giv::is!Hifegiv,:]i
|
| 6702 |
-
|
| 6703 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6704 |
Frederick William POMEROY ( 1856-1924)
|
| 6705 |
@@PROCESS
|
| 6706 |
562. Perseus with the head of
|
| 6707 |
Medusa
|
| 6708 |
50 cms. (height including integral plinth); 3 cms. (height of
|
| 6709 |
plinth); 11.35 cms. (length of plinth); 9.45 cms. (width of plinth)
|
| 6710 |
Copper with a warm pale tan patina. Electrodeposit. The interior of
|
| 6711 |
the integral plinth reveals the bubbled texture characteristic of this
|
| 6712 |
process. `F. W. POMERoy. / Sc 1898.' is inscribed on the proper left
|
| 6713 |
side of the base; `N° 6C' betvireen the hero's feet.
|
| 6714 |
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
|
| 6715 |
No.13 in Andrew Shirley's receipt of January 1927 as `A Statuette,
|
| 6716 |
St. George, holding head and sword'.
|
| 6717 |
Pomcroy exhibited `Perseus; as a symbol of the subduing and
|
| 6718 |
resisting of Evil, Statuc' at the Royal Academy exhibition in
|
| 6719 |
1898 (no.1964). This has been asstimed to be the life-size
|
| 6720 |
bronze in the National Museum of wales, Cardiff, but a
|
| 6721 |
letter in the Department's archive from Pomeroy's widow,
|
| 6722 |
Patricia Payne, dated 27 March 1928, confirms that it was a
|
| 6723 |
plaster cast that was exhibited. The small bronze versions are
|
| 6724 |
common at London auctions and arc found in several public
|
| 6725 |
collections: the Victoria and Albert Museum; the Laing Art
|
| 6726 |
Gallery, Newcastle upon Tyne; the Stirling Maxweu
|
| 6727 |
Collection, Pollok House, Glasgow. They are by no means
|
| 6728 |
all of the same quality. The Victoria and Albert's version is a
|
| 6729 |
lost-wax cast with a lively surface; others such as the
|
| 6730 |
Ashmolean's have the dead uniformity of the electrodeposit.
|
| 6731 |
They also differ in several respects from the life-sized work:
|
| 6732 |
most notably, the hero's lips are parted and his eyelids raised.
|
| 6733 |
But there is also some variety in details between the reduced
|
| 6734 |
versions.
|
| 6735 |
The Ashmolean's is unusual in not having `Perseus' in
|
| 6736 |
Greek characters on the front face of the plinth. There are
|
| 6737 |
also differences in the design of the snakes suspended from
|
| 6738 |
the head of Medusa. In the version at Christie's, Ijondon, 29
|
| 6739 |
September 1989 (lot 257), they were knotted, in the version
|
| 6740 |
at Phillips, Ijondon, 30 June 1987 (lot 75), they curled to
|
| 6741 |
proper right, and so on. The number on the Ashmolean's
|
| 6742 |
version is unusual although a version at Sotheby's, Ijondon,
|
| 6743 |
23 June 1987 (lot 81), was nulnbered `N° 6C['. However, all
|
| 6744 |
versions that I have seen have been dated 1898 and this may
|
| 6745 |
well be the date of the model, which is likely to be preliminary
|
| 6746 |
to the creation of the hfe-sized work. The date at which the
|
| 6747 |
bronzcs were made is not certain, but one was exhibited in
|
| 6748 |
1902 at the Fine Art Society's `Sculpture for the Home'
|
| 6749 |
exhibition. The casts were then sehing for 30 guineas each.
|
| 6750 |
(S. Beattie, 7%G Niow7 Sc#/Pf"re (New Haven, Conn., and
|
| 6751 |
London,1983),199, citing an annotated copy of the
|
| 6752 |
catalogue.) Many of the small casts retain oriSnal pedestals
|
| 6753 |
which are almost always of pG#de d¢. P"¢}o (Tuscan serpentine).
|
| 6754 |
Beattie justly observes of the PGrJc#f that it recalls the
|
| 6755 |
famous D¢p¢.¢ exhibited at the Salon in Paris in 1872 by
|
| 6756 |
Mercie, with whom Pomeroy had studied in 1885 after he
|
| 6757 |
won the Royal Academy travelling scholarship. The D¢p¢.d
|
| 6758 |
was extensively available as a bronze of a similar size to the
|
| 6759 |
small bronze Perseus. Pomcroy's figure also recalls the heroic
|
| 6760 |
male nudes of Gilbert (Nos. 497-8, 505) and of course the
|
| 6761 |
bronzes of the Renaissance which had bccn an inspiration to
|
| 6762 |
both Merci€ and Gilbert. The accessories contrive to allude
|
| 6763 |
to the hero's other adventures: the hilt of his sword takes the
|
| 6764 |
form of Andromeda bound and at the mercy of the sea
|
| 6765 |
monster which is wound around the guard; the winged horse,
|
| 6766 |
Pegasus, forms the crest of his helmet. This latter creature
|
| 6767 |
seems to be modelled on a small Renaissance bronze of
|
| 6768 |
similarly sketchy character an example of which, in Fortnun's
|
| 6769 |
collection (8. 438), Pomeroy, who worked for Fortnuni (see
|
| 6770 |
No. 561), may well have studied. There are other instances in
|
| 6771 |
Pomeroy's bronzes of his close acquaintance with Renaissance
|
| 6772 |
bronzes. He even initiated for his small bronze of the young
|
| 6773 |
B¢cc¢#J (possibly exhibited 1890 but most casts are dated
|
| 6774 |
1903) a type of triangular base with hoof feet employed by
|
| 6775 |
Severo da Ravenna.
|
| 6776 |
@@PROCESS
|
149
|
| 6778 |
|
| 6779 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6780 |
Jancs PRYDE ( 1866-1941 )
|
| 6781 |
@@PROCESS
|
| 6782 |
563. John Willet
|
| 6783 |
38 cms. (height including integral plinth); 8 cms. (height of
|
| 6784 |
integral plinth); 14.9 cms. (length of integral plinth); 10.8 cms.
|
| 6785 |
(width of integral plinth)
|
| 6786 |
Wood, probably Honduras mahogany, carved and painted. The
|
| 6787 |
plinth is integral: a slight vertical opening in both sides of it and in
|
| 6788 |
the stump support reveals a join. The figure has probably been
|
| 6789 |
carved from three blocks joined vertically; hints of the join of the
|
| 6790 |
third smaller piece may be found in the belly and beer jug. There
|
| 6791 |
are small chips to the plinth at proper lower left front comer and
|
| 6792 |
lower right back comer. The colours of the paint (shades of brown
|
| 6793 |
and khaki grey) other than black may have darkened but are always
|
| 6794 |
likely to have been smoky. The colour of the mahogany shines
|
| 6795 |
through the black paint in a few worn areas. The name `John Willet'
|
| 6796 |
painted in black on the front face of the plinth is slightly worn in
|
| 6797 |
the last letters.
|
| 6798 |
Purchased for £5,500 from the exhibition of Pryde's work at the
|
| 6799 |
Redfem Gallery, 20 Cork St (22 Sept.-26 0ct. 1988), where it was
|
| 6800 |
no. 21 (illustrated in the catalogue). Purchase finalized on 9
|
| 6801 |
December 1988 using the Bouch Bequest Fund (£1,500), the
|
| 6802 |
France Fund (£1,000), and the Mary Freeman Bequest Fund
|
| 6803 |
(£3,000). The sculpture was sold through the Redfern Gallery by
|
| 6804 |
Peyton Skipwith of the Fine All Society. Mr Skipwith bought it
|
| 6805 |
from Marguerite Steen. She inherited it from the artist's friend,
|
| 6806 |
brother-in-law, and collaborator Sir William Nicholson. Previous to
|
| 6807 |
this it belonged to Barney Scale.
|
| 6808 |
Derek Hudson in /¢owGf Prydc (I.ondon, 1949), 58 and 98,
|
| 6809 |
discusses this statuette and illustrates it or a version of it
|
| 6810 |
(pl. XIII). `A friend remembers him [Prydc] sitting in a swivel
|
| 6811 |
chair, working on some little figure, but ready to swing round
|
| 6812 |
to his easel at the first sign of his wife's approach! His statuette
|
| 6813 |
of O/d/oA# W¢.//cf, the landlord of the "Maypole" in B¢ow¢ky
|
| 6814 |
R„dz7G, is typical of the large Rabelaisian. quality and strong
|
| 6815 |
virile understanding that gave us /o„oc¢f. ' Hudson records
|
| 6816 |
the statue as of plaster and there may have been another
|
| 6817 |
version, perhaps a cast of this one, in that medium, but this
|
| 6818 |
statucttc is not at first sight obviously of wood. The sculpture
|
| 6819 |
is undatcd but the rhythmic stylization of the bulgivg
|
| 6820 |
rotundities is very suggestive of the imagery which Pryde and
|
Nicholson invented together in their woodcuts of the mid-
|
| 6822 |
1890s where the traditional British tradesman and servant
|
| 6823 |
class often have a menacing appearance-although the
|
| 6824 |
grotesque buufrog proportions and protruding eyes of this
|
| 6825 |
figure are more grotesque than anything there. They are also
|
| 6826 |
unlike anything else in British art and were perhaps suggested
|
| 6827 |
by Daumier. It reminds us of Prydc's fascination with the
|
| 6828 |
stage and with the eighteenth century of Hogarth, but also
|
| 6829 |
of his alcohohsm which must have endowed a supplier such
|
| 6830 |
as Wiuet with a nightmare status.
|
| 6831 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6832 |
Charles dc Souay RICKETTS RA ( 1866-1931 )
|
| 6833 |
With the workshop of c. and A. Giuliano
|
| 6834 |
@@PROCESS
|
| 6835 |
564. Pendant medallion portrait of
|
| 6836 |
Ryllis Hacon in a framework of
|
| 6837 |
scrolls and leaves
|
| 6838 |
9.7 cms. (height, including suspension loop); 5.9 cms. (width);
|
| 6839 |
3.15 cms. (diameter of medallion)
|
| 6840 |
Gold with enamcls, pearls, precious, and semi-precious stones. The
|
| 6841 |
profile head is embossed on a circular medallion of thin gold. `C.R'
|
| 6842 |
is scratched beneath the bun and the neck. This medallion is backed
|
| 6843 |
by a thicker plate of gold with chanplev6 enamels of blue and green
|
| 6844 |
and is set in a framework consisting of gold scrolls with c/o¢.fo#7?c'
|
| 6845 |
white and blue enamels and of leaves with green enamel. The green
|
| 6846 |
and blue enamels are G» 4¢j:tc }#¢.//c (translucent to reveal the ribbed
|
| 6847 |
surface of the gold below). The leaves at the top form a mask, its
|
| 6848 |
eyes set with rubies or gamets and its mouth perforated with a larger
|
| 6849 |
ruby or garnet within it. Attached to the franc arc four irregular
|
| 6850 |
emeralds and two irregular rubies set in claws, and five pearls set in
|
| 6851 |
cups. In addition three baroque pearls are suspended from the
|
| 6852 |
frame, the larger, central one, below a sapphire. From the back it is
|
| 6853 |
clear that the two claws holding the rubies are of a warmer gold than
|
| 6854 |
the frame and have been soldered on to it: so these may represent
|
| 6855 |
a revision to the origival design. There is a reinforcement in the
|
| 6856 |
same warmer gold to the claw holding the emerald to proper left of
|
| 6857 |
the lower part of the fromc.
|
| 6858 |
Given by Mrs Robichaud (nee Hacon) of Overstys Cottage,
|
| 6859 |
Domoch, Scotland, in memory of w. IJewcllyn Hacon (her father).
|
Registered on 20 June 1952. Placed on display with the late-nineteenth-
|
| 6861 |
century British bronzcs in May 1989.
|
| 6862 |
Ryllis (for Amaryllis) was the name by which Edith Broadbent,
|
| 6863 |
a noted beauty and model, was known in artistic circles. She
|
| 6864 |
married Llewellyn Hacon, a wealthy lawyer who was the
|
| 6865 |
partner of Charles Rickctts and his ffiend Charles H. Shannon
|
| 6866 |
in the Vale Press-the chief venture in the lives of these two
|
| 6867 |
artists between 1896 and 1904. She had previously been a
|
| 6868 |
favourite model of Shannon's. The pendant is said to date
|
| 6869 |
from 1900 and was perhaps presented by the artist to the
|
| 6870 |
sitter. RIcketts seems to have begun making designs for
|
| 6871 |
jewcllcry in 1899. Certainly the first of his designs which is
|
| 6872 |
documented as having actually been realized was a pendant,
|
| 6873 |
intended to be won by Icarus in one of his paintings,
|
| 6874 |
presented to his friend, the poet Katherine Bradley, in 1899.
|
| 6875 |
An album in the British Museum entitled by RIcketts
|
| 6876 |
`Dcsigns for Jewels done in RIchmond 1899' ( 198a.43)
|
| 6877 |
includes other designs incorporating similar scrolls and leaves
|
| 6878 |
and a mask in the frame ( 1962-8-9-2 ( 1 ), (2), (3) ). The
|
| 6879 |
preliminary drawing for this jewel is included in this album
|
| 6880 |
(ibid. (37) ). It differs in that the blue enamel in the scrolls is
|
| 6881 |
unbroken, the sapphire is a ruby, there is only one central
|
| 6882 |
baroque pearl, and no rubies are attached to the sides.
|
| 6883 |
Ricketts was not the first British painter in this period to
|
| 6884 |
have been keenly involved in the design of jcwcuery. It was,
|
| 6885 |
in particular, an intcrcst of Burne-Jones in his late years. There
|
| 6886 |
Charles Ricketts original design for the
|
| 6887 |
Hacon pendant (above) and
|
| 6888 |
preliminary sketch probably for the
|
| 6889 |
same (below). British Museum
|
| 6890 |
@@PROCESS
|
151
|
| 6892 |
|
| 6893 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6894 |
had also been many instances of special jewels being made in
|
| 6895 |
order to be included in paintings, especially those of an
|
| 6896 |
archacolodcal character (see C. Gerc and G. Munn, Arfz.fff'
|
| 6897 |
/c.n7c//cry (I.ondon,1989), for this phenomenon). RIcketts's
|
| 6898 |
involvcmcnt is of particular significance, because it was through
|
| 6899 |
jcwcllery, then attracting leading British sculptors such as
|
| 6900 |
Gilbert and Frampton, that he discovered his talents as a
|
| 6901 |
sculptor, to which indeed he turned in 1905 after hc ceased
|
| 6902 |
to design jcwcllcry. In the case of this pendant the embossed
|
| 6903 |
relief is entirely by RIcketts (said to have been executed with
|
| 6904 |
a penknife and lead pencil). The setting, as was usual with
|
| 6905 |
his jewels, was not made by him but was designed by him,
|
| 6906 |
carefully supervised by him, and probably revised (as is
|
| 6907 |
suggested by both comparison with the drawing and
|
| 6908 |
examination of the gold) to suit him.
|
| 6909 |
Next to the drawings for this jewel in the album in the
|
| 6910 |
British Museum is another, sketchier and uncoloured, in pen
|
| 6911 |
for a framed profile portrait (ibid. (38) ), which has something
|
| 6912 |
of the calligraphic freedom of Gilbert. It is likely to be an
|
| 6913 |
early idea for the Hacon jcwcl but in it the lines of the hair
|
| 6914 |
are taken up in the composition of the frame. It is also
|
| 6915 |
noteworthy that in the drawing the profile faces right, as is
|
| 6916 |
more usual. No doubt Mrs Hacon faces left because the
|
| 6917 |
embossing was carried out for the most part on the reverse
|
of the medallion. The most ambitious of RIcketts's jewels-
|
| 6919 |
`a pendant of pendants which will tear all lace and scratch
|
| 6920 |
babies'-was completed in March 1904 as a betrothal Sft
|
| 6921 |
for Maria Appia and Thomas Sturge-Moore (today in the
|
| 6922 |
Fitzwilliam Museum). In it the coloured stones and ornament
|
| 6923 |
are fully integrated with bolder rclicf sculpture-which
|
| 6924 |
rcprcscnts the Descent of Psyche into Hell-whereas in this
|
| 6925 |
cahier work frame and portrait were conceived of, and indeed
|
| 6926 |
created, separately. The leaf ornament at the top of the frame
|
| 6927 |
in the Ashmolcan's pendant, forming a grotesque mask of
|
| 6928 |
green enamel with stones set in the eyes and open mouth,
|
| 6929 |
was to be repcatcd more boldly in the Descent of Psyche
|
| 6930 |
pendant, but there it has a symbolic meaning, suggesting
|
| 6931 |
Psyche's teinfying destination, whereas it has no such
|
| 6932 |
relationship with Mrs Hacon (one hopes).
|
| 6933 |
All of RIcketts's jewellery was executed by, or rather with,
|
| 6934 |
`Giuliani frores', that is the workshop of Arthur Alphonse
|
| 6935 |
Giuliano ( c.1864-1914). Arthur was the son of carlo Giuliano
|
| 6936 |
(c.183l-95), a Neapolitan by birth, who came to London in
|
| 6937 |
about 1860, probably with the great Italian jewcllcr,
|
| 6938 |
goldsmith, antiquarian, dealer, and collector Alessandro
|
| 6939 |
Castellani who had bccn based in Paris, but is known to have
|
| 6940 |
wanted to open premises in I.ondon in the early 1860s.
|
| 6941 |
Giuliano, who had certainly been an associate and probably
|
| 6942 |
an employee of Castcllani, may have been proposed as the
|
| 6943 |
I.ondon manager but he set up independently with a
|
| 6944 |
workshop in Frith Street and in 1874 opened his own shop
|
| 6945 |
at 115 Piccadilly. The business was inherited by his sons Carlo
|
| 6946 |
Joseph and Arthur Alphonse, but the former seems not to
|
| 6947 |
have bccn active in it. Both Carlo and his son Arthur were
|
| 6948 |
accomplished `rcvivalist' jewcllers imitating, and on occasion
|
| 6949 |
replicating, Egyptian, Etruscan, Greek, Gothic, Renaissance,
|
| 6950 |
and lndial\ wock. (G. C. Mann. Castellani and Gittliani
|
| 6951 |
(Fribourg, 1984), 47-75, cspccially 47-55 for an introduction
|
| 6952 |
@@PROCESS
|
| 6953 |
152
|
| 6954 |
to the Giuliani, 68-9 for the work of Ricketts, pls. 29-30,
|
| 6955 |
and captions on page 35 for this pendant.)
|
| 6956 |
For Ricketts and the Hacons see J. C. P. Delaney, Cho7i/cJ
|
| 6957 |
R£.c4c#r (Oxford,1991), 95 and 140.
|
| 6958 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 6959 |
I.ouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2)
|
| 6960 |
@@PROCESS
|
| 6961 |
565. Modello for the monument to
|
| 6962 |
George Frideric Handel in
|
| 6963 |
Westminster Abbey
|
| 6964 |
98 cms. (height)
|
| 6965 |
Terracotta and plaster of Paris. The background is of terracotta
|
| 6966 |
above the dado mouldings at the height of the figure's waist. There
|
| 6967 |
arc several breaks in it all of which have been repalrcd. It is attached
|
| 6968 |
by plaster to a slab of slate to which the lower portion of the
|
| 6969 |
background, which is of wood and plaster, is also fixed. The plaster
|
| 6970 |
has been coloured to match the terracotta. The figure with papers,
|
| 6971 |
table, draperies, and horn arc of terracotta, hollowed out to some
|
| 6972 |
extent behind. There are also several holes in the rear, one of which
|
| 6973 |
pierces the model entirely bctwecn the figure's legs. The figure
|
| 6974 |
appears to have been given a plaster base, coloured to match the
|
| 6975 |
clay, but it is possible that this base is of terracotta extensively
|
| 6976 |
reinforced with plaster. There are several obvious repair lines: on
|
| 6977 |
the horn, and at the top of the shcct music, for example. One corner
|
| 6978 |
of the sheet music has been made up with plaster as has a large
|
| 6979 |
portion of the first fold of the coat to proper right. After examination
|
| 6980 |
by X-ray and binocular microscope at the Victoria and Albert
|
| 6981 |
Museum in 1984 a report was submitted to the Keeper (in the form
|
| 6982 |
of a letter from Malcolm Baker dated 23 October) suggesting that
|
| 6983 |
the surface was at one time covered in white paint. The report also
|
| 6984 |
pointed out that the composer's right arin was modelled separately
|
| 6985 |
and inserted into the sleeve. This is in fact evident without artificial
|
| 6986 |
aids, for the arm is modelled entirely in the round and yet placed
|
| 6987 |
only a hair's breadth from the body. Examination with the naked
|
| 6988 |
eye also reveals that the lower part of the composer's left leg was
|
| 6989 |
separately modelled. The portion of the cloak which has been made
|
| 6990 |
up with plaster was loosened during the examination of the work
|
| 6991 |
in October 1984 and subsequently reattached.
|
| 6992 |
Given by James Wyatt in 1848 to the University Gallery (Donations
|
| 6993 |
Book, p.11). Mr. Wyatt was an alt dealer, print publisher, franc
|
| 6994 |
maker, and picture restorer in Oxford's High Street whose firm had
|
| 6995 |
many close associations with the University Galleries in its early
|
| 6996 |
years. Scc also No. 542. The %ode//a seems to have been placed on
|
| 6997 |
a pedestal veneered with yGzde ¢#Jfro (green and grey-green breccia).
|
| 6998 |
In more recent years it has been supported on a pedestal of wood
|
| 6999 |
covcrcd with the blue brocade of the walls of the Chambers Hall
|
| 7000 |
Gallery in which it is placed. The H¢»dfroo4 G#¢.def reveal that it
|
| 7001 |
was in the Fortnum Room in 1909 and the RIffaello Room in
|
| 7002 |
1931, and photographs show it in the Hill Music Room in the
|
| 7003 |
1950s. The pcrfe a"f¢.co would have matched the Music Room
|
| 7004 |
skirting.
|
| 7005 |
Roubhiac's famous monument to Handel in Westminster
|
| 7006 |
Abbey was commissioned with the ftoo which the composer
|
| 7007 |
left for this purpose in his win. A fee was paid to the Abbey
|
| 7008 |
in 1759, the year of the composer's death, and the monument
|
| 7009 |
was unveiled on 10 July 1762 according to the GGce*/G%¢%'J
|
| 7010 |
A4¢gr¢zG.#c, 32: 340. The Ashmolean model differs in few
|
| 7011 |
details fi.om the marble. In the latter the composcr's irises arc
|
| 7012 |
unmarked and, since his index finger has been broken off,
|
| 7013 |
We cannot be certain that it pointed to heaven. Also in the
|
| 7014 |
marble the lower sheet is chiselled with the word `MESSIAH'
|
| 7015 |
and the higher with `Larghctto / I know that my Redeemer
|
| 7016 |
liveth / and that Hc shall stand / . . . at the last . . .'
|
| 7017 |
There is a smaller terracotta model (35.7 cms. in height)
|
| 7018 |
said to have been found in recent years in a Bristol antique
|
| 7019 |
shop and subsequently sold to `the Gerald Coke Handel
|
| 7020 |
Collcction' (reproduced in colour in the catalogue of the
|
| 7021 |
=r±Ibiti?n R?c?:.o: Art and Desizgn in Hogarth'-s England
|
| 7022 |
(Victoria and Albert Museum, 16 May-30 Sept. 1984),
|
| 7023 |
pl. XXVI). In this smancr version the angel is placed nearer
|
| 7024 |
to the composer, the feet seeming to touch his head which
|
| 7025 |
is here covered with a nightcap; the composer does not look
|
| 7026 |
up as if rapt by t:he angelic harping, but vacantly out to his
|
| 7027 |
left; he has his right hand on the further edge of his score and
|
| 7028 |
his left also on it at the top left-hand corner. Some passages
|
| 7029 |
of modelling-most notably the draperies and legs of the
|
| 7030 |
harpisrrirc lively but perfunctory, the hands, being
|
| 7031 |
summary, look feeble, and the unbroken ffll of the composcr's
|
| 7032 |
cloak is heavy and dull. The handling, however, with its dabs
|
| 7033 |
and pokes, is quite close to that of the model for the
|
| 7034 |
monument to John, 2nd duke of Montagu (Victoria and
|
| 7035 |
Albert Museum, A.6-1947).
|
| 7036 |
The working of the clay in the Ashmolean model is unusual
|
| 7037 |
for its careful finish and most unusual on account of the
|
| 7038 |
modelling and the texture of the composcr's hands and face
|
| 7039 |
which make them more refined and more vital than anything
|
| 7040 |
in any surviving small terracotta by the sculptor. The texture
|
| 7041 |
is achieved by hatching with a fine tool in the clay when it
|
| 7042 |
was leather-hard. This is also found in the high-relief bust
|
| 7043 |
portrait of Oliver Cromwcn in the Royal Ontario Muscun,
|
| 7044 |
Toronto (959.492), but not, for example, in the face of
|
| 7045 |
Handel in the model for his statue in Vaurhall Gardens
|
| 7046 |
(Fitzwilliam Museum, M3-1922). It is more typical of
|
| 7047 |
Rysbrack's work on this scale (the face of Ncvlon in the
|
| 7048 |
model for his monument is a striking example-Victoria and
|
| 7049 |
Albert Museum, A.1-1938). The handling of the raised hand
|
| 7050 |
especially may be compared with that in some sculpture by
|
| 7051 |
Jean-Baptiste I,emoyne, such as the terracotta bust of
|
| 7052 |
Fontenellc in the Mus6c des Beaux-Arts, Lyon ( 1974-4).
|
| 7053 |
There were four `dcsigns' for `Mr. Handen' in lot 70 on
|
| 7054 |
the second day of Roubiliac's studio sale at hagford's,
|
| 7055 |
Ijondon, 13 May 1762, and these might weu have been
|
| 7056 |
terracotta sketches and have included this piece.
|
| 7057 |
Although catalogued in the Rococo exhibition (cited above,
|
| 7058 |
no. S 46, p. 307) as `attributed to Roubiliac', the compiler
|
| 7059 |
has since informed me that he has no doubts concerning its
|
| 7060 |
status. Its tcchniquc is certainly peculiar: but the combination
|
| 7061 |
of plaster and terracotta, whilst in pa]t due to restoration, is
|
| 7062 |
certainly also in part origival and is characteristic of Roubihac,
|
| 7063 |
as may be seen, for instance, from the way a plaster soclc is
|
| 7064 |
attached to his terracotta bust of Hogarth in the National
|
| 7065 |
Portrait Gallery.
|
| 7066 |
A sample was taken from the terracotta by Mrs Doreen
|
| 7067 |
Stonehan of the Oxford Research Laboratory for
|
| 7068 |
Archaeology and the History of Art in March 1987 and
|
| 7069 |
thermo-lumincsccncc tests suggested a date between 1767
|
| 7070 |
and 1847 (ref. 48l-a-30). If this result is trusted then the
|
| 7071 |
possibility of the model being made after the marble was
|
| 7072 |
complctcd should be considered.
|
| 7073 |
@@PROCESS
|
153
|
| 7075 |
|
| 7076 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7077 |
had also been many instances of special jewels being made in
|
| 7078 |
order to be included in paintings, especially those of an
|
| 7079 |
archaeolodcal character (see C. Gere and G. Munn, Arfz.fff'
|
| 7080 |
JowG//ey (Ijondon, 1989), for this phenomenon). Rickctts's
|
| 7081 |
involvementisofparticularsignificance,becauseitwasthrough
|
| 7082 |
jewellery, then attracting leading British sculptors such as
|
| 7083 |
Gilbert and Frampton, that he discovered his talents as a
|
| 7084 |
sculptor, to which indeed he tuned in 1905 after he ceased
|
| 7085 |
to design jewellery. In the case of this pendant the embossed
|
| 7086 |
relief is entirely by RIcketts (said to have been executed with
|
| 7087 |
a penknife and lead pencil). The setting, as was usual with
|
| 7088 |
his jewels, was not made by him but was designed by him,
|
| 7089 |
carefuuy supervised by him, and probably revised (as is
|
| 7090 |
suggested by both comparison with the drawing and
|
| 7091 |
examination of the gold) to suit him.
|
| 7092 |
Next to the drawings for this jewel in the album in the
|
| 7093 |
British Museuni is another, sketchier and uncolourcd, in pen
|
| 7094 |
for a framed profile portrait (ibid. (38) ), which has something
|
| 7095 |
of the calligraphic freedom of Gilbert. It is likely to be an
|
| 7096 |
early idea for the Hacon jewel but in it the lines of the hair
|
| 7097 |
are taken up in the composition of the frame. It is also
|
| 7098 |
noteworthy that in the drawing the profile faces right, as is
|
| 7099 |
more usual. No doubt Mrs Hacon faces left because the
|
| 7100 |
embossing was carried out for the most part on the reverse
|
of the medallion. The most ambitious of Rickctts's jewels-
|
| 7102 |
`a pendant of pendants which win tear all lace and scratch
|
| 7103 |
babies'-was completed in March 1904 as a betrothal aft
|
| 7104 |
for Maria Appia and Thomas Sturgc-Moorc (today in the
|
| 7105 |
Fitzwilliam Museum). In it the coloured stones and ornament
|
| 7106 |
are fully intcgratcd with bolder rehef sculpture-which
|
| 7107 |
represents the Descent of Psyche into Hell-whereas in this
|
| 7108 |
earlier work frame and portrait wcrc conceived of, and indeed
|
| 7109 |
created, separately. The leaf ornament at the top of the frame
|
| 7110 |
in the Ashmolean's pendant, forming a grotesque mask of
|
| 7111 |
green enamel with stones set in the eyes and open mouth,
|
| 7112 |
was to be repeated more boldly in the Descent of Psyche
|
| 7113 |
pendant, but there it has a symbolic meaning, suggesting
|
| 7114 |
Psyche's terrifying destination, whereas it has no such
|
| 7115 |
relationship with Mrs Hacon (one hopes).
|
| 7116 |
AIl of Rickctts's jewellery was executed by, or rather with,
|
| 7117 |
`Giuliani frercs', that is the workshop of Arthur Alphonse
|
| 7118 |
Giuliano(c.1864-1914).ArthurwasthesonofcarloGiuliano
|
| 7119 |
(c.183l-95), a Neapolitan by birth, who came to ljondon in
|
| 7120 |
about 1860, probably with the great Italian jcwellcr,
|
| 7121 |
goldsmith, antiquarian, dcalcr, and couector Alessandro
|
| 7122 |
Castellani who had been based in Paris, but is known to have
|
| 7123 |
wanted to open premises in London in the early 1860s.
|
| 7124 |
Giuliano, who had certainly been an associate and probably
|
| 7125 |
an cmployce of Casteuani, may have been proposed as the
|
| 7126 |
I.ondon manager but hc set up independently with a
|
| 7127 |
workshop in Frith Street and in 1874 opened his own shop
|
| 7128 |
at 115 Piccadilly. The business was inherited by his sons Carlo
|
| 7129 |
Joseph and Arthur Alphonse, but the former seems not to
|
| 7130 |
have been active in it. Both Carlo and his son Arthur were
|
| 7131 |
accomplished `revivalist' jewellers imitating, and on occasion
|
| 7132 |
rephcating, Egyptian, Etruscan, Greek, Gothic, RenaissaTce,
|
| 7133 |
and Indian work. (G. C. Munn, C¢f££//¢„G. ¢„¢ G¢.#/¢.¢»¢
|
| 7134 |
( Fribourg,1984), 47-75, especially 47-5 5 for an introduction
|
| 7135 |
@@PROCESS
|
| 7136 |
152
|
| 7137 |
I
|
| 7138 |
to the Giuliani, 68-9 for the work of RIckctts, pls. 29-30,
|
| 7139 |
and captions on page 35 for this pendant.)
|
| 7140 |
For RIckctts and the Hacons see I. C. P. Delaney, C¢¢#JGJ
|
| 7141 |
A;cfec#f (Oxford,1991), 95 and 140.
|
| 7142 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7143 |
Ijouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2)
|
| 7144 |
@@PROCESS
|
| 7145 |
565. Modello for the monument to
|
| 7146 |
George Frideric Handel in
|
| 7147 |
Wesrfuster Abbey
|
| 7148 |
98 cms. (height)
|
| 7149 |
Terracotta and plaster of Paris. The background is of terracotta
|
| 7150 |
above the dado mouldings at the height of the figure's waist. There
|
| 7151 |
arc several breaks in it all of which have been repaired. It is attached
|
| 7152 |
by plaster to a slab of slate to which the lower portion of the
|
| 7153 |
background, which is of wood and plaster, is also fixed. The plaster
|
| 7154 |
has been coloured to match the terracotta. The figure with papers,
|
| 7155 |
table, draperies, and horn are of terracotta, hollowed out to some
|
| 7156 |
extent behind. There are also several holes in the rear, one of which
|
| 7157 |
pierces the model entirely between the figure's legs. The figure
|
| 7158 |
appears to have been given a plaster base, coloured to match the
|
| 7159 |
clay, but it is possible that this base is of terracotta extensively
|
| 7160 |
reinforced with plaster. There are several obvious repair lines: on
|
| 7161 |
the horn, and at the top of the sheet music, for example. One corner
|
| 7162 |
of the sheet music has been made up with plaster as has a large
|
| 7163 |
pordon of the first fold of the coat to proper right. After examination
|
| 7164 |
by X-ray and binocular microscope at the Victoria and Albert
|
| 7165 |
Museum in 1984 a report was submitted to the Keeper (in the form
|
| 7166 |
of a letter from Malcolm Baker dated 23 October) suggesting that
|
| 7167 |
the surface was at one time covered in white paint. The report also
|
| 7168 |
pointed out that the compo§er's right arm was modelled separately
|
| 7169 |
a.nd inscrtcd into the sleeve. This is in fact evident without artificial
|
| 7170 |
aids, for the arm is modelled entirely in the round and yet placed
|
| 7171 |
only a halr's breadth from the body. Examination with the naked
|
| 7172 |
eye also reveals that the lower part of the composer's left leg was
|
| 7173 |
separately modelled. The portion of the cloak which has been made
|
| 7174 |
up with plaster was loosened during the examination of the work
|
| 7175 |
in October 1984 and subsequently reattached.
|
| 7176 |
Given by James Wyatt in 1848 to the University Gallery (Donations
|
| 7177 |
Book, p.11). Mr. Wyatt was an art dealer, print publisher, fromc
|
| 7178 |
maker, and picture restorer in Oxford's High Street whose firm had
|
| 7179 |
many close associations with the University Galleries in its early
|
| 7180 |
years. See also No. 542. The owode//a sccms to have been placed on
|
| 7181 |
a pedestal vcncered with pG#de ¢„f¢.co ( green and grey-green brcccia).
|
| 7182 |
In more recent years it has been supported on a pedestal of wood
|
| 7183 |
covered with the blue brocade of the walls of the Chambers Hall
|
| 7184 |
Gallery in which it is placed. The H¢„d4oofe G#¢.def rcvcal that it
|
| 7185 |
was in the Fortnum Room in 1909 and the Raffaello Room in
|
| 7186 |
1931, and photographs show it in the Hill Music Room in the
|
| 7187 |
1950s. The pe7rfe ¢"f¢.co would have matched the Music Room
|
| 7188 |
skirting.
|
| 7189 |
Roubiliac's famous monument to Handel in Wcstminstcr
|
| 7190 |
Abbey was commissioned with the £600 which the composer
|
| 7191 |
left for this purpose in his will. A fee was paid to the Abbey
|
| 7192 |
in 1759, the year of the composer's death, and the monument
|
| 7193 |
was unveiled on 10 July 1762 according to the GG"£/Gow¢7?'f
|
| 7194 |
A44[g¢zG.#G, 32: 340. The Ashmolean model differs in few
|
| 7195 |
details from the marble. In the latter the composer's irises are
|
| 7196 |
unmarkcd and, since his index finger has been broken off,
|
| 7197 |
wc cannot be certain that it pointed to heaven. Also in the
|
| 7198 |
marble the lower sheet is chiscued with the word `MESSIAH'
|
| 7199 |
and the higher with `Larghetto / I know that my Redeemer
|
| 7200 |
liveth / and that He sham stand / . . . at the last . . .'
|
| 7201 |
There is a smaller terracotta model (35.7 cms. in height)
|
| 7202 |
said to have been found in recent ycar§ in a Bristol antique
|
| 7203 |
shop and subsequently sold to `thc Gerald Coke Handel
|
| 7204 |
Collection' ( reproduced in colour in the catalogue of the
|
| 7205 |
c;xhilkjlfi urn Rococo: An and Design in Hogarth's England
|
| 7206 |
(Victoria and Albert Museum, 16 May-30 Sept. 1984),
|
| 7207 |
pl. XXVI). In this smaller version the angel is placed nearer
|
| 7208 |
to the composer, the feet seeming to touch his head which
|
| 7209 |
is here covered with a nightcap; the composer does not look
|
| 7210 |
up as if rapt by the angelic harping, but vacantly out to his
|
| 7211 |
left; he has his right hand on the further edge of his score and
|
| 7212 |
his left also on it at the top left-hand corner. Some passages
|
| 7213 |
of modelling-most notably the draperies and legs of the
|
| 7214 |
harpist-rc lively but perfunctory, the hands, being
|
| 7215 |
summary, look feeble, and the unbroken fall of the composer's
|
| 7216 |
cloak is heavy and dull. The handling, however, with its dabs
|
| 7217 |
and pokes, is quite close to that of the model for the
|
| 7218 |
monument to John, 2nd duke of Montagu (Vlctoria and
|
| 7219 |
Albcrt Museum, A.6-1947).
|
| 7220 |
The working of the clay in the Ashmolean model is unusual
|
| 7221 |
for its careful finish and most unusual on account of the
|
| 7222 |
modelling and the texture of the composcr's hands and face
|
| 7223 |
which make them more refined and more vital than anything
|
| 7224 |
in any surviving small terracotta by the sculptor. The texture
|
| 7225 |
is achicvcd by hatching with a fine tool in the clay when it
|
| 7226 |
was leather-hard. This is also found in the high-relief bust
|
| 7227 |
portrait of Ohvcr Cromweu in the Royal Ontario Museum,
|
| 7228 |
Toronto (959.492), but not, for example, in the face of
|
| 7229 |
Handel in the model for his statue in Vauxhan Gardens
|
| 7230 |
(Fitzwillian Museum, M3-1922). It is more typical of
|
| 7231 |
Rysbrack's work on this scale (the face of Newton in the
|
| 7232 |
model for his monument is a striking example-Victoria and
|
| 7233 |
Albert Museum, A.I-1938). The handling of the raised hand
|
| 7234 |
especially may be compared with that in some sculpture by
|
| 7235 |
Jean-Baptiste Lemoyne, such as the terracotta bust of
|
| 7236 |
Fontenene in the Mus6e des Beaux-Arts, Lyon ( 1974-4).
|
| 7237 |
There were four `designs' for `Mr. Handell' in lot 70 on
|
| 7238 |
the second day of Roubihac's studio sale at I.angford's,
|
| 7239 |
I.ondon, 13 May 1762, and these might well have bccn
|
| 7240 |
terracotta sketches and have included this piece.
|
| 7241 |
Although catalogued in the Rococo exhibition (cited above,
|
| 7242 |
no. S 46, p. 307) as `attributed to Roubiliac', the compiler
|
| 7243 |
has since informed me that he has no doubts concerning its
|
| 7244 |
status. Its technique is certainly peculiar: but the combination
|
| 7245 |
of plaster and terracotta, whilst in part due to restoration, is
|
| 7246 |
certainly also in part origival and is characteristic of Roubiliac,
|
| 7247 |
as may be seen, for instance, from the way a plaster socle is
|
| 7248 |
attached to his terracotta bust of Hogarth in the National
|
| 7249 |
Portrait Gallery.
|
| 7250 |
A sample was taken from the terracotta by Mrs Doreen
|
| 7251 |
Stoneham of the Oxford Research I.aboratory for
|
| 7252 |
Archaeology and the History of Art in March 1987 and
|
| 7253 |
thermo-luminescence tests suggcstcd a date between 1767
|
| 7254 |
and 1847 (ref. 48l-a-30). If this result is trusted then the
|
| 7255 |
possibility of the model being made after the marble was
|
| 7256 |
completed should bc considered.
|
| 7257 |
@@PROCESS
|
153
|
| 7259 |
|
| 7260 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7261 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7262 |
@@PROCESS
|
| 7263 |
154
|
| 7264 |
John Michael RYSBRACK ( 1694-1770)
|
| 7265 |
@@PROCESS
|
| 7266 |
566. Bust portrait of John
|
| 7267 |
Churchill, lst duke of Marlborough
|
| 7268 |
63.3 cms. (height of bust excluding pedestal); 59 cms. (width of
|
| 7269 |
bust); 28.8 cms. (height of pedestal); 35.5 cms. (length of
|
| 7270 |
pedestal); 25.6 cms. (width of pedestal); 116.4 cms. (height of
|
| 7271 |
sub-pedestal); 37.2 cms. (length of sub-pedestal); 25.6 cms.
|
| 7272 |
(width of sub-pedestal)
|
| 7273 |
White Carrara marble considerably discoloured. Small chips have
|
| 7274 |
been lost from one of the leaves in the hair and from the uppemost
|
| 7275 |
fold of drapery at the front of the chest. On the base of the bust at
|
| 7276 |
t:he rear are traces of black letters spelling: `|oHN DUKE
|
| 7277 |
oF/ MARLBORoUGH'. On the front of the pedestal a I.atin text is
|
| 7278 |
chiselled which is translated behind: `Princc of the Roman Empire
|
| 7279 |
8cc / The Rescuer of the hibcrtics of ENGIAND and
|
| 7280 |
HOLIAND / when in the most Imminent Danger. / The Subduer
|
| 7281 |
and Scourge / of FRANCE when in its / Height of Power. / The
|
| 7282 |
Deliverer and Protector / of GERMANy / when at the Point of
|
| 7283 |
Ruin. /Who through the whole course / Of a Ten Years Vigorous
|
| 7284 |
WAR, / In Repeated Attacks / Upon the Enemies Armies, and
|
| 7285 |
continual / Assaults Upon their Strong Towns, / Never once fulcd
|
| 7286 |
of success.' Below this on the plinth of the pedestal is the
|
| 7287 |
supplementary infomation (not in I.atin on the front): `Battles
|
| 7288 |
gained .... 5 / Strong Towns that Surrendered without Siege
|
| 7289 |
16 / Strong Towns besieged and taken . . . 24'. The equivalent area
|
| 7290 |
of the front of the plinth is chiselled with the words: `Illustrissima
|
| 7291 |
Vidua, Digna tali Tantoq Viro / D:D: Academiae Oxoniensi A:D:
|
| 7292 |
MDCCXXX.' The English translation is also inscribed on a white
|
| 7293 |
marble tablet set in a mottled grey marble surround in the Museum
|
| 7294 |
store. This presumably once served as a base.
|
| 7295 |
- Flffifu
|
| 7296 |
Prcscnted by Sarah, duchess of Marlborough, to the Bodleian hibrary
|
| 7297 |
in 1730. Transferred to the Ashmolcan Museum in 1926 (A»»"a/
|
| 7298 |
Rcporf, 24) together with the bust of Gladstonc by Woolner
|
| 7299 |
(No. 597). By the mid-1950s the bust was displayed together with
|
| 7300 |
Nos. 558 and 559.
|
| 7301 |
There are, as Margaret Webb pointed out (A4¢.choc/ ftyy4r¢cfe
|
| 7302 |
Sc"/Pfo7 (Ilondon,1954), 95), two busts of the duke of
|
| 7303 |
Marlborough by Rysbrack, one in contemporary armour and
|
| 7304 |
a long wig (Blenhcim Palace), and the other wearing a wreath,
|
| 7305 |
antique armour with a lion's mark on his right shoulder, and
|
| 7306 |
a cloak adorned with a Garter Star. The Ashmolcan bust is
|
| 7307 |
an example of the second type of which other examples are
|
| 7308 |
recorded by Webb at Syon House, Wimbornc St Giles, and
|
| 7309 |
the National Portrait Gallery (2005, transferred from the
|
| 7310 |
British Museum in 1923). It seems never to have been
|
| 7311 |
observed in print that this second type is not in fact an
|
| 7312 |
independent invention by the artist but an abbrcviation-hcncc
|
| 7313 |
the unhappy cutting of the Garter Star-of the
|
| 7314 |
sculptor's full-length effigy of the duke made for the tomb
|
| 7315 |
in the chapel at Blenhcim. The angle at which the effigy has,
|
| 7316 |
inevitably, been photographed militates against recognition of
|
| 7317 |
this. Since the Ashmolean's version of the bust was presented
|
| 7318 |
to the Bodleian in 1730 that establishes a date for completion
|
| 7319 |
of Rysbrack's effigy at least as a model. The marble effigy was
|
| 7320 |
presumably among the `figures', `trophies', and `medals'
|
| 7321 |
described by the duchess as `ready to set up' in the chapel in
|
| 7322 |
May 1732 (ibid. 93).
|
| 7323 |
@@PROCESS
|
155
|
| 7325 |
|
| 7326 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7327 |
Foundry or workshop of L. Gcnneau (probably Paris)
|
| 7328 |
After John Michael RYSBRACK ( 1694-1770)
|
| 7329 |
@@PROCESS
|
| 7330 |
567. Statuette of Sir Peter Paul
|
| 7331 |
Rubens
|
| 7332 |
61,8 cms, (height including integral plinth); 2.9 cms. (height of
|
| 7333 |
plinth); 22.2 cms. (length of plinth); 19.4 cms. (width of plinth);
|
| 7334 |
26.5 cms. (length of plinth)
|
| 7335 |
Bronze with a dark brown patina won to olive green-brown on the
|
| 7336 |
plinth and on the figure's right hand, nose, and forehead. The
|
| 7337 |
brown patina has traces of a ruddy gold when well lit. Hollow, sand-cast,
|
| 7338 |
in several pieces. The base together with the draped pedestal
|
| 7339 |
behind the figure forms one unit and the upper half of the figure is
|
| 7340 |
bolted and soldered to this. The figure's right arm and left hand
|
| 7341 |
are also separately cast. The surface is very meticulously tooled and
|
| 7342 |
all the drapery is finely and freely cross-hatched. `D. pETRvS. PAVLVS.
|
| 7343 |
RVBBENS. EQVES' is chiselled across the back of the plinth of the
|
| 7344 |
pedestal, `Petro Pauol Rubens' in imitation of the artist's own
|
| 7345 |
signature in Italian is chiselled across the back of the plinth below
|
| 7346 |
this, and `Michel Rycbrack [J;c] / 1632' with a line below the date
|
| 7347 |
is chiselled on the side of the plinth of the pedestal. There is an
|
| 7348 |
indecipherable flourish at the end of `Pauol' in the artist's signature.
|
| 7349 |
Bought in 1963. Redstered on 25 October with the name of the
|
| 7350 |
vendor left blank.
|
| 7351 |
Vcrtue informs us that the success of Peter Schecmakers's
|
| 7352 |
monument to Shakespeare in Westminster Abbey led to a
|
| 7353 |
decline in Rysbrack's business as a sculptor. We may speculate
|
| 7354 |
that the success of Roubiliac may also have caused this. In
|
| 7355 |
his new-found leisure, surely recalling a commission, reccivcd
|
| 7356 |
from Lord Burlington in the 1720s, for portraits of Inigo
|
| 7357 |
Jones and Palladio, and perhaps also influenced by the fact
|
| 7358 |
that his rival Scheemakers had made such a hit with a figure
|
| 7359 |
in historical dress, and also newly alert to his alien status (not
|
| 7360 |
a compatriot of Shakespeare ), Rysbrack made `three moddels
|
| 7361 |
in clay, being the representations of 3 most excellent Artists
|
| 7362 |
(about 2 foot hi each figure) Rubens. Vandyke & Fiamingo
|
| 7363 |
Quenoy [i.e. Duquesnoy] all thrcc his Country men'. Vertuc
|
| 7364 |
enormously admired them ( `Notebooks', iri, W¢/fJo/e SocG.rty,
|
| 7365 |
22 ( 19334),116). That was in 1743 and in the following
|
| 7366 |
year, on 4 January in the D¢¢./y Adrcr}¢.fc7r, Joseph Van Aken,
|
| 7367 |
the drapery painter, solicited subscriptions for an edition of
|
| 7368 |
the three figures in plaster of Paris (asking 7± guineas for the
|
| 7369 |
set). The models could be viewed and orders placed in
|
| 7370 |
Rysbrack's studio, so it is reasonable to suppose that the
|
| 7371 |
sculptor retained an interest in the venture. Nine monochrome
|
| 7372 |
off paintings of the three figures by William Grecne the
|
| 7373 |
younger may have served as part of the promotion of this
|
| 7374 |
`publication', as is suggested by Katharine Eustace ( M¢.choc/
|
| 7375 |
Ryr4"¢cfe (City of Bristol Museum and All Gallery, 1982),
|
| 7376 |
13844). She also notes that it seems to have been after Van
|
| 7377 |
Akcn's death in 1749 that John Checre took up the
|
| 7378 |
production of plasters. The origival models of Rubens and
|
| 7379 |
Van Dyck were lots 73 and 74 of the studio sale of `Joseph
|
| 7380 |
Vinhaccken . . . drapery paintcr' at Langford's, Ijondon,11
|
| 7381 |
February 1750/1, together with many plaster casts. Cheere
|
| 7382 |
@@PROCESS
|
| 7383 |
156
|
| 7384 |
was not the only supplier of plaster casts. Some appear for
|
| 7385 |
sale with their brackets in the `stock in trade of Mr Atkinson
|
| 7386 |
of picadilly lately dcceased' auctioned by Burnsall, London,
|
| 7387 |
on 2 April 1767. Some were also sold, at 2 guineas each, by
|
| 7388 |
Charles Harris, sometime before 1795 and there are examples
|
| 7389 |
in press-moulded terracotta, stoneware, and ivory. But there
|
| 7390 |
arc no bronze reproductions which can certainly be dated to
|
| 7391 |
the cightecnth century although Chcere's plasters were given
|
| 7392 |
a bronze colouring. Rysbrack also made marble busts from
|
| 7393 |
the three figures in 1746.
|
| 7394 |
The claim made by Ian Robertson in the A"„"a/ RGPo7¢
|
| 7395 |
for 1963 (p. 53) that this bronze version of Rysbrack's R#Z7e»J
|
| 7396 |
statuette is actually `the work of ' Rysbrack seems highly
|
| 7397 |
optimistic. The chiselled letters of his mme copy laboriously
|
| 7398 |
those incised in clay by the artist. A contemporary craftsman
|
| 7399 |
might have been responsible for this, although chiselled
|
| 7400 |
imitations of cursive script are not usual before the last century.
|
| 7401 |
But if it was done by a contemporary they would surely not
|
| 7402 |
have mistaken the `s' in Rysbrack for a `c'. The best explanation
|
| 7403 |
for this mistake is that the bronze worker had a slightly
|
| 7404 |
defective or blurred cast as his source and had no idea who
|
| 7405 |
Rysbrack was. This would also explain the absence of a proper
|
| 7406 |
hilt or sheath for the sword in the bronze statucttc for these
|
| 7407 |
are likely to have been missing in a poor cast. This theory
|
| 7408 |
also makes sense of the date 1632 below the signature. The
|
| 7409 |
bronze worker who had not heard of Rysbrack may well have
|
| 7410 |
supposed that hc was a contemporary of Rubens and that the
|
| 7411 |
portrait was made from life; he would in that case have hit
|
| 7412 |
on a seventeenth-century date for the work (had he given
|
| 7413 |
much thought to the matter, however, he might have chosen
|
| 7414 |
an earlier one since Rubens was 55 years old in 1632 and
|
| 7415 |
looks younger here). The other inscriptions on the bronze
|
| 7416 |
are imitations of Rubens's own signature as he signed his own
|
| 7417 |
letters and paintings. The idea of recording the handwriting
|
| 7418 |
with the likeness of a sitter seems to have origivatcd in the
|
| 7419 |
early nineteenth century-the medallions of great men by
|
| 7420 |
David D'Angers testify to an enthusiasm for graphology, then
|
| 7421 |
a new and exciting scicncc.
|
| 7422 |
There is, then, reason to suspect that this bronze is a
|
| 7423 |
nineteenth-century cast and this is strongly supported by its
|
| 7424 |
composite, sand-cast, structure typical of Parisian nincteenth-century
|
| 7425 |
foundries. There is another version of the bronze on
|
| 7426 |
deposit with the sculpture department at Sotheby's in Bond
|
| 7427 |
Street which is identical except that it is signed `Miche
|
| 7428 |
Rybsrack [f¢.c] / 1743' and has the latinate and capitalized,
|
| 7429 |
but not the Italianate cursive, version of Rubens's name. A
|
| 7430 |
version is also in the Victoria and Albert Museum, paired with
|
| 7431 |
one after Rysbrack's Van Dyck (A. 24 and A. 23-1955).
|
| 7432 |
Rysbrack's signature in this case is also `Miche' as in the
|
| 7433 |
Sotheby's version but `L. GENNEAU' is chiselled together with
|
| 7434 |
the I.atinate capitalized name behind. A note of 1977 in the
|
| 7435 |
Victoria and Albert Muscum's files records another pair in
|
| 7436 |
the Bcaverbrook Art Gallery, Fredericton, New Brunswick,
|
| 7437 |
Canada, marked `Soci6te des Bronzes'. Genneau is not
|
| 7438 |
otherwise known to us, either as a c¢.Jc/e#7 or a founder, but
|
| 7439 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7440 |
it is a French or BelSan name and the Soci6t6 dcs Bronzes
|
| 7441 |
was presumably a French or Belgian firm.
|
| 7442 |
It is not hard to understand why Rysbrack's statuettes
|
| 7443 |
should have been reproduced in bronze in France in the
|
| 7444 |
second half (I would suspect in the last quarter) of the last
|
| 7445 |
century. Albert Ernest Carrier-Bellcuse's statuettes of raphael
|
| 7446 |
and Michelangelo were cast by Deniere in 1855 (a dated pair
|
| 7447 |
are in the Ijouvre). He followed these with Leonardo, Cclhi,
|
| 7448 |
Murillo, Velazquez, also standing, and a seated Dtirer-this
|
| 7449 |
last incorporating an imitation of the artist's signature (an
|
| 7450 |
example was lot 81, Sotheby's, London, 4-7 November
|
| 7451 |
1988). Other sculptors and founders saw their opportunity:
|
| 7452 |
Jean Jacques Feuchere's models of I'alissy and Cellini were
|
| 7453 |
cast by E. de I,abrouc; Genneau would seem to have exploited
|
| 7454 |
the models already made in England. There is a possibhity
|
| 7455 |
also that knowledge of Rysbrack's initiative of the mid-eighteenth
|
| 7456 |
century stimulated that of Carrier-Bclleuse a
|
| 7457 |
hundred years later, especiany since in 1855, the date of the
|
| 7458 |
Raphael and Michelangelo, he had just returned to France
|
| 7459 |
having spent five years working as a modeller for Minton's
|
| 7460 |
factory in Stoke-on-Trent.
|
| 7461 |
@@PROCESS
|
157
|
| 7463 |
|
| 7464 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7465 |
Perhaps John Michael RYSBRACK ( 1694-1770)
|
| 7466 |
@@PROCESS
|
| 7467 |
568. Portrait bust of an unknown
|
| 7468 |
lady
|
| 7469 |
60.6 cms. (height including socle); 14.5 cms. (height of socle)
|
| 7470 |
Lead. Hollow cast with thick walls. The surface has been dented in
|
| 7471 |
several places most conspicuously in the centre of the forehead.
|
| 7472 |
There are also numerous scratches including deep ones on the upper
|
| 7473 |
chest, the proper right cheek, and across the chin. There is a crack
|
| 7474 |
in the cast across the foremost and lowest fold of the drapery. The
|
| 7475 |
lead has clearly been tooled after casting-the sharp lines of the
|
| 7476 |
front curls of the hair and of the eyebrows are particularly indicative
|
| 7477 |
of this (see also below). There are traces of a white deposit in some
|
| 7478 |
of the hollows, perhaps suggesting that the bust was originally
|
| 7479 |
painted. The interior of the bust has been filled with mastic and the
|
| 7480 |
bust has been mounted on a turned and waisted serpentine soclc
|
| 7481 |
(certainly not origival).
|
| 7482 |
Bought in 1933. From the dealer `Marcussen' according to the entry
|
| 7483 |
in the University Gallery Benefactions Book perhaps at the same
|
| 7484 |
time as No. 401.
|
| 7485 |
The bust was described by the Keeper, Kenneth Clark, in the
|
| 7486 |
A""#¢/ Rcpo# ( 1933: 25) as in the `style of Rysbrack' and
|
| 7487 |
this seems just. It is certainly a fine work of this period. An
|
| 7488 |
idiosyncraticfeatureisthescalloped,almostpetal-ukecharacter
|
| 7489 |
of the undergarment and this may be compared with the
|
| 7490 |
treatment of the drapery in Rysbrack's bust of I.ady Margaret
|
| 7491 |
Cavendish-Holles-Harley dated 1723 (at Welbeck Abbey,
|
| 7492 |
Nottinghamshire, reproduced as pl. 35 in M.I. Webb,
|
| 7493 |
A4¢.c¢¢e/ ftysb"¢c4 Sc#/Pfo7 (London, 1954) ). The hair has
|
| 7494 |
been given a granulated texture with a punch after casting
|
| 7495 |
and lines chisellcd on top of this. Exactly the same technique
|
| 7496 |
may be observed in Henry Cheere's superb lead bust of the
|
| 7497 |
duke of Cunberland at Belton House (bought 1747,
|
| 7498 |
Bel/M/44), but it need not have been special to Cheere.
|
| 7499 |
The bust has been very carefully and tactfully restored,
|
| 7500 |
doubtless after acquisition, and it is clear from a letter written
|
| 7501 |
by Clark to H. H. E. Craster, Bodley's Librarian, on 3
|
| 7502 |
February 1933 that credit for this should be given to `Our
|
| 7503 |
restorer, Young . . . generally reckoned one of the best
|
| 7504 |
restorers in the Country and . . . responsible for many of the
|
| 7505 |
masteapicces in the Muscum'-in draft, Clack wrote, `8c no
|
| 7506 |
one knows how much of the masterpieces in the Museum
|
| 7507 |
are his work'. Clark added that he was a `slow worker and
|
| 7508 |
paid a retaining fee by the Department of Andquities and is
|
| 7509 |
therefore bound to give up most of his time to their work. It
|
| 7510 |
is also almost impossible to get an estimate from him; I have
|
| 7511 |
never had an account from him since I have been here.'
|
| 7512 |
@@PROCESS
|
| 7513 |
158
|
| 7514 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7515 |
Possibly the factory of SHORE of Matlock (flourished mid-ninctccnth
|
| 7516 |
century)
|
| 7517 |
@@PROCESS
|
| 7518 |
569. Crater-shaped vase on a
|
| 7519 |
pedestal
|
| 7520 |
42.2 cms. (height); 17.4 cms. (height of pcdcstal); 20.8 cms.
|
| 7521 |
(diameter of vase at lip); 15.7 cms. (length a.nd width of plinth
|
| 7522 |
ofpcdcstal)
|
| 7523 |
The body of the vase is fashioned from an unusually large block of
|
| 7524 |
Dcrbyshirc fluorspar (blue-john). It is hollow only above the
|
| 7525 |
handles. The foot is fashioned from a separate piece. The pedestal
|
| 7526 |
consists of blocks of white Camra marble forming base and crown
|
| 7527 |
mouldings, and sides of fluorspar veneered over a core. The plinth
|
| 7528 |
of the va.se and pedestal are of black marble (probably Derbyshire
|
| 7529 |
black marble, from the Ash ford quarry). There is a plate of brass
|
| 7530 |
under the pcdestal's plinth. The pair of foliate handles and the thin
|
| 7531 |
bands of ornamental moulding between foot a.nd body, foot and
|
| 7532 |
base of the vase, and at the edge of the base are of lacquered brass.
|
| 7533 |
The components are held together by a long bolt.
|
| 7534 |
Bequeathed by Major Thomas Bouch in 1963. Received by the
|
| 7535 |
museum on 20 November 1963. See also Nos. 451, 452, and 469.
|
| 7536 |
Blue-john had been employed omamentally since the middle
|
| 7537 |
of the eighteenth century, at first by local craftsmen but
|
| 7538 |
during the 1770s by the factory of Matthew Boulton at Soho
|
| 7539 |
(see Nos. 451-2, 608-9). After 1780 the material was
|
| 7540 |
available to craftsmen all over Britain but seems mostly to
|
| 7541 |
have been worked and mounted by firms in Derbyshire. The
|
| 7542 |
urns associated with Boulton are always solid, as was indeed
|
| 7543 |
an advantage for the relatively heavy candle branches often
|
| 7544 |
attached to them. Hollow work began to be made in the
|
| 7545 |
1780s and by 1802 the technique, which involved heating
|
| 7546 |
the stone and appl)ing resin, was very advanced and the
|
| 7547 |
delicacy of the translucent vases turned on water lathes is
|
| 7548 |
speciauy mentioned in John Mawe's A4l¢."c#¢/og}y a/Dc#kyul}G.rc
|
| 7549 |
(Derby, 1802), 75. In 1848 Robert Hcnson, addressing the
|
| 7550 |
Western Literary Institution in Leiccster Square (in a lecture
|
| 7551 |
published in B„¢./der, 6/307 (23 Dec. 1848), 617-18),
|
| 7552 |
marvelled at the blue-john vases which could be illuminated
|
| 7553 |
by a taper. Hc noted in particular the products of Thomas
|
| 7554 |
I.ambc's silk mill in Derby which had long since convcrtcd to
|
| 7555 |
working blue-john-this was the factory of either Shore,
|
| 7556 |
Evens, or Brown who were the chief rivals in the business. `A
|
| 7557 |
prodigal waste of this stone was once carried on when
|
| 7558 |
abundance could be obtained from the mine, but now it is
|
| 7559 |
extremely scarce and expensive, the price has risen from fl4
|
| 7560 |
to fro per ton, and even larger sums have been given for very
|
| 7561 |
fine specimens.' The waste thrown out in the eightccnth
|
| 7562 |
century was by then being collected from the River Derwent
|
| 7563 |
for rcworking.
|
| 7564 |
The firm which was especially noted for large, hollow,
|
| 7565 |
turned vessels was that of Shore-some of these were as high
|
| 7566 |
as 2 feet (A. E. 0llercnshaw and R J. and D. Harrison, A
|
| 7567 |
H¢.#ory a/B/#c/o4„ Sfo„c (Brighouse, n.d. [c.1960]),18-
|
| 7568 |
19). This remarkable exanplc may bc tentatively attributed to
|
| 7569 |
that factory. The character of the fohatc handles and the
|
| 7570 |
curvature of the lip of the crater are alike characteristic of the
|
| 7571 |
revival of the rococo in the decorative arts at the time of the
|
| 7572 |
Great Exhibition. The unhappy conjunction of the handles
|
| 7573 |
with the gadrooning is a typical consequcncc of provincial
|
| 7574 |
manufacture-there was technical skill in working the stone
|
| 7575 |
but not much taste in the design of the final product and the
|
| 7576 |
stone workers were separate from the suppliers of the mounts
|
| 7577 |
(which were probably purchased `ready-made') so that the
|
| 7578 |
vases were not conceived of as a whole. In the better
|
| 7579 |
eighteenth-century work in this material the amber-coloured
|
| 7580 |
stone (as in the body of the vase here) was not contrasted
|
| 7581 |
with the amethyst (as in the pedestal here) but stone of a
|
| 7582 |
similar colour was used throughout.
|
| 7583 |
lFT.I,1,,.,,,,,,,,I:1,,,
|
| 7584 |
@@PROCESS
|
159
|
| 7586 |
|
| 7587 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7588 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7589 |
Unknoun foundry
|
| 7590 |
After Phoebe STABLER (d.1955)
|
| 7591 |
@@PROCESS
|
| 7592 |
570. Faggot gatherer
|
| 7593 |
22.5 cms. (height including integral base)
|
| 7594 |
Bronze with a very dark brown patina. Hollow, lost-wax, cast.
|
| 7595 |
Incised in the model in the integral, naturalistic, base to proper left
|
| 7596 |
`P.G. STABLER 1910'.
|
| 7597 |
Given in 1956 by Cyril da Costa Andrade of Morocco House,
|
| 7598 |
Bayard's Cove, near Dartmouth, Devon, together with No. 487.
|
| 7599 |
Redstcred on 3 October.
|
| 7600 |
Andrade was a considerable benefactor to the Department
|
| 7601 |
but his interest was chiefly in the field of ceramics rather than
|
| 7602 |
sculpture. Phocbe Stabler, however, had made her reputation
|
| 7603 |
as a modeller for ceramics not long after this model was
|
| 7604 |
signed, when the rights on her `Picardy Peasants' were
|
| 7605 |
purchased for reproduction in earthenware and bone china
|
| 7606 |
by the Doulton Burslem factory at the instigation of its art
|
| 7607 |
director Charles J. Nokes. The rights were purchased in 1911
|
| 7608 |
and her figurines launched in the `HN' Range in 1913. She
|
| 7609 |
exhibited bronze statuettes at the Royal Academy during the
|
| 7610 |
same period (the earliest being Gr¢7¢ny in 1911, no.1814,
|
| 7611 |
which might bc identical with the work catalogued here).
|
| 7612 |
Mrs Stabler seems never to have given her date of birth to a
|
| 7613 |
work of reference. In 1906 she married Harold Stabler, who
|
| 7614 |
was born in 1872. He worked as a sculptor, potter, and
|
| 7615 |
jeweller.
|
| 7616 |
@@PROCESS
|
| 7617 |
160
|
| 7618 |
Probably the foundry of J. W. Singer, Frome, Somerset
|
| 7619 |
After Alfred STEVENS ( 1817-75 )
|
| 7620 |
@@PROCESS
|
| 7621 |
571 and 572. Pair of allegorical
|
| 7622 |
groups from the monument to the
|
| 7623 |
duke of wellington: Valour with
|
| 7624 |
Cowardice (571); Truth with
|
| 7625 |
Falsehood ( 572)
|
| 7626 |
64.5 cms. (height of No. 571); 37 cms. (length of No. 571);
|
| 7627 |
30.5 cms. (length of No. 571 at base); 26.2 cms. (width of
|
| 7628 |
No. 571 ); 60 cms. (height of No. 572); 41 cms. (length of
|
| 7629 |
No. 572); 25.5 cms. (width of No. 572)
|
| 7630 |
Bronze with a black to chestnut patina. Hollow, sand-cast. Each
|
| 7631 |
group is cast in one piece. No. 571 is hollow behind. Core remains
|
| 7632 |
in the right leg of valour and the right arm of Truth and both arms
|
| 7633 |
of Falsehood. A wire armature also remains in the arms of Falsehood.
|
| 7634 |
There are numerous vestigial seams from the piece-moulded plaster
|
| 7635 |
casts (from which the casting models were taken).
|
| 7636 |
Bought at Sotheby's, I.ondon, 31 October 1962, lot I from the
|
| 7637 |
collection of Frank RInder by Colnaghi acting at short notice for
|
| 7638 |
Gerald Taylor who had admired them a short while before the
|
| 7639 |
auction commenced. Bought from Mr Taylor and registered early
|
| 7640 |
August 1963. Placed on brackets in the Print Room, above the
|
| 7641 |
solander cabinets on the north wall, where they have remained.
|
| 7642 |
The history of Alfred Stevens's monument to the duke of
|
| 7643 |
Wellington in St Paul's Cathedral has been traced in great
|
| 7644 |
detail by John Physick in 7%G We%79gfo7¢ 44o"#7"G"f (HMSO,
|
| 7645 |
1970). The first proposal for the monument was made not
|
| 7646 |
long after the duke was buried in St Paul's in 1852 when Sir
|
| 7647 |
William Molesworth, First Commissioner of works, found
|
| 7648 |
himself with ca3,000 left out of the floo,000 voted by
|
| 7649 |
Parliament for the funeral expenses. Molesworth's planned
|
| 7650 |
limited competition was abandoned in 1855 and an open
|
| 7651 |
competition was announced by his successor, Sir Benjamin
|
| 7652 |
Hall, in September of the following year. On 7 August 1857
|
| 7653 |
Stevens's design was one of six placed equal fourth in the
|
| 7654 |
competition-the value of the competition was, however,
|
| 7655 |
much diminished by the fact that the only judge profcssionany
|
| 7656 |
connected with the arts, C. R. Cockerell, declined to
|
| 7657 |
participate in the final decision.
|
| 7658 |
Stevens's model in plaster and wax, 9 fcct 9 inches high,
|
| 7659 |
now in the Victoria and Albert Museum (44-1878), was
|
| 7660 |
published in the I//#ffr¢£Gd lo„do„ Niow7J on 12 September
|
| 7661 |
1857, whose critic admired the way that the `vanquished
|
| 7662 |
figures were flung out from the pile with a boldness and
|
| 7663 |
terrific spirit'. They were not, however, universany approved
|
| 7664 |
and the Ecc/cfG.a/ogrS.ff, champion of the Gothic Revival, found
|
| 7665 |
the `demonology' both `intrusive and unintchictble'. The
|
| 7666 |
announcement that Stevens's design had been selected was
|
| 7667 |
made in June 1858 and he was offered the commission
|
| 7668 |
provided he made a full-sized model. He agreed to this
|
| 7669 |
Condition on 9 September 1858. The model for the group
|
| 7670 |
of Truth was `almost two thirds complcte' by 27 November
|
| 7671 |
1860, but work on the model as a whole proceeded slowly
|
| 7672 |
and it was not until January 1867 that it was sufficiently
|
| 7673 |
advanced for Stevens to be given permission to proceed with
|
| 7674 |
the sculpture.
|
| 7675 |
The plaster casts of the full-sized models for the groups in
|
| 7676 |
the Victoria and Albert Museum (32la and 32lb-1878) show
|
| 7677 |
many minor deviations from the origivial models (which are
|
| 7678 |
reflected in the Ashmolean's bronzes)-for instance, the club
|
| 7679 |
of Hercules is held by Valour at a different angle, the right
|
| 7680 |
leg of Truth is draped, and Falsehood's left hand clutches a
|
| 7681 |
ball. These casts probably date from 1866. The models wcrc
|
| 7682 |
being prepared for casting in the summer of 1870, but the
|
| 7683 |
groups had not been cast when Stevens died on I May 1875.
|
| 7684 |
The bronzes were, however, ready by the summer of 1876
|
| 7685 |
when, together with the effigy of the duke, they were exhibited
|
| 7686 |
at the Royal Academy (as nos.1427 and 1522). The
|
| 7687 |
monument was unvcfled in 1878. In 1894 it was moved to
|
| 7688 |
the location in St Paul's which had origivally been proposed
|
| 7689 |
for it. The crowning equestrian statue, however, which had
|
| 7690 |
origivally been planned but which was then objected to by
|
| 7691 |
the Dean of st Paul's, was not placed in position until 1903
|
| 7692 |
and the monument was not finally unveiled until 1912.
|
| 7693 |
As Ian Robertson observed in the A#"#¢/ RGPo77 ( 1963:
|
| 7694 |
53) a study for the figure of valour was among the group of
|
| 7695 |
drawings by Stcvens in the Department's collection. It had
|
| 7696 |
been part of the Madan Bequest in 1962 and so was very
|
| 7697 |
much in the minds of the curatorial staff. He suggested that
|
| 7698 |
the Ashmolean's bronzes were `likely to have been one of the
|
| 7699 |
four pairs included in the first day of Stevcns's studio sale 19
|
| 7700 |
July 1877 lots 4649', but there is no cvidcncc for this and
|
| 7701 |
the casts mentioned in these lots must have been of plaster
|
| 7702 |
(they sold for cvcry little). Robcrtson recorded three other
|
| 7703 |
pairs: those in the Victoria and Albert Museum, the City
|
| 7704 |
Museum and Art Gallery, Leiccster, and in the collection of
|
| 7705 |
Mr and Mrs Charles Handley-Read, with the inphcation that
|
| 7706 |
these were the other three pairs in the sale. Thcrc are in fact
|
| 7707 |
numerous other bronze casts of this type (for instance, in the
|
| 7708 |
National Gallery of Scotland, 2057, the National Ganery of
|
| 7709 |
Ireland, 65-8075 and 59-8076, Fitzwilliani Museum,
|
| 7710 |
Cambridge) and it is known that the pair in the Victoria and
|
| 7711 |
Albert Museum (on loan to the Mappin Art Gallery, Sheffield
|
| 7712 |
(264 and 265-1896) were bought for £25 each in 1896 from
|
| 7713 |
the Singer foundry and were cast from plasters in the
|
| 7714 |
possession of John R Clayton (see S. Jcrvis (ed.), V¢.cfo".¢„
|
¢»d Ed7p¢kd¢.fl» DGcor¢£¢.pc A# (catalogue of the Handley-
|
| 7716 |
Read Collection, Royal Academy, I.ondon, 1972), 58-9, cat.
|
| 7717 |
mos. C84-5 by Iidvinia Handley-Read). It is likely that the
|
| 7718 |
Ashmolean pair belong to the sanie large commercial
|
| 7719 |
posthumous edition. The plaster casts in Clayton's possession
|
| 7720 |
were evidently made in a piece-mould from an origival sketchy
|
| 7721 |
clay model (or, more probably, from a plaster made in a waste
|
| 7722 |
mould from such a clay model) made by Stevcns in connection
|
| 7723 |
with his origival competition model exhibited in 1857. It is
|
| 7724 |
most unlikely that Stevcns would have wanted a work of this
|
| 7725 |
character to be converted into bronze. By 1896 of course
|
| 7726 |
@@PROCESS
|
161
|
| 7728 |
|
| 7729 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7730 |
Stevcns was acknowledged as a genius and moreover as the
|
| 7731 |
spiritual parent of the `New Sculpture'. His sketches were
|
| 7732 |
valued. The monument to Wellington was by then being
|
| 7733 |
treated as a monument to Stevcns as well as to Wellington.
|
| 7734 |
@@PROCESS
|
| 7735 |
162
|
| 7736 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7737 |
)ohm Macallan SWAN RA ( 1847-1910)
|
| 7738 |
@@PROCESS
|
| 7739 |
573. Head of a puma
|
| 7740 |
7.8 cms, (length)
|
| 7741 |
Red wax. There is a small chip missing from the animal's right car.
|
| 7742 |
`Macallam Swan' is incised in the wax in a bold cursive hand with
|
| 7743 |
a sharp modelling tool below the animal's right ear. On the opposite
|
| 7744 |
side of the head a word, possibly `puma', is incised in a similar style.
|
| 7745 |
Mounted by means of an oriSnal copper prong on a velvet covered
|
| 7746 |
pedestal.
|
| 7747 |
Purchased 1966 from Alfred Spero of 4 Park Mansions Arcade,
|
| 7748 |
Knightsbridge. Registered on or soon after 19 April (the entry is
|
| 7749 |
undated but the previous entry carries this date).
|
| 7750 |
The wax model is hard to date. Swan's ro#„g f¢givr was
|
| 7751 |
exhibited at the Royal Academy in 1889 and thereafter he
|
| 7752 |
enjoyed a reputation for his vivid sketches of wild animals,
|
| 7753 |
indebted to the traditions of French ¢"¢.ow¢/G.G7r bronzes, such
|
| 7754 |
as those of Fr6mict under whom Swan had studied in the
|
| 7755 |
1870s.
|
| 7756 |
Charles SYKES ( 1875-1950)
|
| 7757 |
@@PROCESS
|
| 7758 |
574. Eve, a Waning to Woman
|
| 7759 |
11.3 cms. (height including integral base); 3.55 cms. (height of
|
| 7760 |
base); 3.4 cms. (length of base); 3 cms. (width of base)
|
| 7761 |
Bronze with a dark green and brown patina worn to golden brown
|
| 7762 |
on hair and apple. Hollow cast. Faintly signed in the model on the
|
| 7763 |
sides of the block at the back below the figurc's left buttock `C. S.
|
| 7764 |
Sykcs'.
|
| 7765 |
Given by Mrs Jessica Sykes, of Gothic House, Drayton by Abingdon,
|
| 7766 |
Bcrkshire, in memory of her husband the sculptor,1953. Rcctstercd
|
| 7767 |
on 28 May. See also No. 575.
|
| 7768 |
The date of this curious and grotesque work is not recorded,
|
| 7769 |
but it may be a miniature, private, and half-satirical rcsponsc
|
| 7770 |
to controversial heroic sculpture by Jacob Epstein such as his
|
| 7771 |
Gc„efG.f of 1931 (Seravczza marble, Granada Television
|
| 7772 |
Collection on loan to the Whitworth Art Gallery, University
|
| 7773 |
of Manchester). Nothing could be less like Sykcs's bcst-known
|
| 7774 |
sculpture, the SpG.r¢.f a/Gcj£#ty, which, in various sizes
|
| 7775 |
and finishes and with minor variations, has served as a mascot
|
| 7776 |
for Rolls-Royce since early in 1911.
|
| 7777 |
@@PROCESS
|
163
|
| 7779 |
|
| 7780 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7781 |
Charles SYKES ( 1875-1950)
|
| 7782 |
@@PROCESS
|
| 7783 |
575. Europa
|
| 7784 |
20.8 cms. (height of bronze); 27.5 cms. (length of bronze);
|
| 7785 |
2.8 cms. (height of plinth); 27 cms. (length of plinth); 9.2 cms.
|
| 7786 |
(width of plinth)
|
| 7787 |
Bronze with a golden brown patina. Hollow cast. Mounted on a
|
| 7788 |
plinth of pale walnut. One label on the underside of the plinth
|
| 7789 |
reveals that the bronze was exhibited between 1943 and 1944 at the
|
| 7790 |
Russell Cotes Art Gallery, Boumcmouth; another that it was
|
| 7791 |
included in a memorial exhibition at Walker's Galleries, 118 Bond
|
| 7792 |
St, I,ondon. Thcrc is also a label marked with the price £38.
|
| 7793 |
Given by Mrs Jessica Sykcs, of Gothic House, Drayton by Abingdon,
|
| 7794 |
Bcrkshire, in memory of her husband the sculptor,1953. Rctlstcred
|
| 7795 |
on 28 May. See also No. 574.
|
| 7796 |
@@PROCESS
|
| 7797 |
164
|
| 7798 |
The labels on the reverse of the phnth suggest this sculpture
|
| 7799 |
must date from before 1943 and it would seem likely to
|
| 7800 |
belong to the 1930s. The subject of Europa and the Bull was
|
| 7801 |
made enormously popular in European sculpture by the
|
| 7802 |
famous bronze by the Swedish sculptor Carl Mines of 1923-
|
| 7803 |
4 (one cast of which is in the Tate Gallery, I.ondon). Other
|
| 7804 |
British sculptors to have attcmptcd it during the 1930s were
|
| 7805 |
Joseph Else and S. Nicholson Babb (see ModGow Sc#/P£#"G,
|
| 7806 |
the photographic anthology published by the Royal Society
|
| 7807 |
of British Sculptors, I.ondon, no date, but 193940, pp. 8
|
| 7808 |
and 30). For the popularity of this subject generally in Europe
|
| 7809 |
see U. Berger, `Europa in neuer Gestalt', in D¢.c VGrf#47`¢¢"g
|
| 7810 |
de7 E#7iop¢ ( Kunstgewerbcmuscum, West Berlin, 1988 ).
|
| 7811 |
What appear to be preliminary pencil drawings for Sykes's
|
| 7812 |
E#rop¢ were, in April 1978, in a private collection in Ascot,
|
| 7813 |
Berkshirc.
|
| 7814 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7815 |
@@PROCESS
|
165
|
| 7817 |
|
| 7818 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7819 |
Frederick TATIIAM ( 1805-78 )
|
| 7820 |
@@PROCESS
|
| 7821 |
576. Hcad of an antique warrior
|
| 7822 |
62.3 cms. (height)
|
| 7823 |
Carrara marble. Drilling is evident in several areas, under the peak
|
| 7824 |
of the helmet, beside the curls of hair, and under the moustache.
|
| 7825 |
There are rough chisel marks apparent on the brow.
|
| 7826 |
`FRED? / TATHAM / 1830.' is chiscllcd on the face of the integral
|
| 7827 |
soclc below the back of the neck.
|
| 7828 |
Bought for £3,200 on 7 July 1988 from Jonathan Clark Ltd, 18
|
| 7829 |
Park Walk, h)ndon Swlo. The sculpture was drawn to the Kecper's
|
| 7830 |
attention by Mr and Mrs John Gerc.
|
| 7831 |
Frederick Tatham was the eldest son of the architect Charles
|
| 7832 |
Heathcotc Tatham ( 1772-1842). He was awarded the Silver
|
| 7833 |
Palette from the Society of Arts in 1824 and chiefly exhibited
|
| 7834 |
portrait miniatures at the Royal Academy, but between 1825
|
| 7835 |
and 1832 he was active as a sculptor showing work at both
|
| 7836 |
the British Institution, including, in 1829, 777c E"j/¢pcd
|
| 7837 |
Tvy#"f (no. 535) and 77lc DyG.»g W¢rr¢.o7 (no. 541), and the
|
| 7838 |
Royal Academy. The curious socle of two superimposed
|
| 7839 |
blocks with chamfcred corners, by which the head, cut off
|
| 7840 |
obliquely below the bare neck, appears to have been impaled
|
| 7841 |
at random, is paralleled in some other British sculpture of this
|
| 7842 |
period, for instance Samuel Joseph's beautiful bust of an
|
| 7843 |
unknown woman of 1825 at Temple Newsan House, Leeds.
|
| 7844 |
•i-,,,,i,,,:,h'ri-,:,''::'',,,,.,,,,giv
|
| 7845 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7846 |
Foundry of A. 8. Burton, Thames Ditton, Surrey
|
| 7847 |
Cccil THOMAS OBE, FRBs ( 1885-1976)
|
| 7848 |
@@PROCESS
|
| 7849 |
577. Portrait head of Archibald
|
| 7850 |
G. 8. Russell
|
| 7851 |
58.2 cms. (height including pedestal); 17.5 cms. (height of
|
| 7852 |
pedestal); 17.6 cms. (length of pedestal); 17.7 cms. (width of
|
| 7853 |
pedestal)
|
| 7854 |
Bronze with a dull dark grey to green patina. Hollow, sand-cast, in
|
| 7855 |
one piece. `CECIL THOMAS / 1926' is incised funtly in the model
|
| 7856 |
on the side of the naITow uppermost step of the tapering pedestal,
|
| 7857 |
at the rear. `A. G. 8. Russell Bequest 1958' is written on a paper
|
| 7858 |
label in the interior of the pedestal.
|
| 7859 |
Bequeathed by Archibald Gcorgc Blomeficld Russell CVO, JP,
|
| 7860 |
Clarenceux FGng-of-Arms, who died March 1956. Received on 8
|
| 7861 |
October 1958 from Mr Russell's unofficially adopted daughter Mrs
|
| 7862 |
Stedall-item no. 9 in the receipt made on that occasion. It would
|
| 7863 |
seem that the Keeper, K. T. Parker, was not delighted at the prospect
|
| 7864 |
of receiving the bust, for in a xerox of the codicil added by Russell
|
| 7865 |
to his will in 1955 he wrote `No!' opposite this item.
|
| 7866 |
Cecil Thomas was apprcnticed to his father, a gem engraver,
|
| 7867 |
and the first of his exhibits at the Royal Academy was a case
|
| 7868 |
of four gems in 1909. While still working in the finjly
|
| 7869 |
workshop he studied sculpture at the Central School, at
|
| 7870 |
Hcatherly's, and at the Slade School and from the cutting of
|
| 7871 |
cameo profiles he graduated to larger portrait medallions.
|
| 7872 |
After service in the First World War as an intelligence officer
|
| 7873 |
he received a commission to commemorate the sons of I.ord
|
| 7874 |
and Lady Forster of Lepc. The recumbent cffigics (the first
|
| 7875 |
of many by him) attracted the notice of Archibald Russell,
|
| 7876 |
then Lancaster Herald, as did some of his portrait busts, four
|
| 7877 |
of which he published in `Thc Sculpture of Cccil Thomas' in
|
| 7878 |
A77 Worfe,I/4 (May-Aug. 1925). In the following year, it
|
| 7879 |
seems, Russell sat for Thomas and on a note dated 9
|
| 7880 |
December 1926 (in the card index he made of works of all
|
| 7881 |
in his collection) Russell recorded that the portrait head had
|
| 7882 |
been prcscnted to him by the sculptor but that he had paid
|
| 7883 |
fl710s. to A. 8. Burton of Thames Ditton, Surrey, for the
|
| 7884 |
casting. The portrait head was exhibited at the Royal Academy
|
| 7885 |
in 1929 (no.1560 `Archibald G. 8. Russell Esq., I.ancaster
|
| 7886 |
Herald-head, bronzc' ).
|
| 7887 |
In his article on Thomas's sculpture Russell had vcnturcd
|
| 7888 |
one criticism of the portraits:
|
| 7889 |
It may perhaps be questioned whether the problem of adjusting his
|
| 7890 |
portraiture to the conventional requirements of the base upon which
|
| 7891 |
it stands, has as yet been solved by Mr Thomas in a wholly satisfactory
|
| 7892 |
manner. In common with many other sculptors of our time, he
|
| 7893 |
suffers from the unfortunate legacy from as great a master as Rodin,
|
| 7894 |
whose too frequent practice it was to evade the undoubted
|
| 7895 |
difficulties presented by the transition bctwcen convention and
|
| 7896 |
realism, by leaving his work unfinished. It would appear moreover
|
| 7897 |
to be Mr Thomas's plan to carry the lines of the sculpture down to
|
| 7898 |
the base, whereas a more satisfying harmony would probably be
|
| 7899 |
obtained between the two by inverting the process and givng the
|
| 7900 |
head an upward spring from the base, and by assigning to the latter
|
| 7901 |
a somewhat more definite character, however formal, of its own.
|
| 7902 |
The stepped tapering pedestal and the somewhat heraldic
|
| 7903 |
treatment of the upper chest in this portrait must be a
|
| 7904 |
response to this criticism. The rose and crown on the pedestal
|
| 7905 |
identify Russell as I.ancastcr Herald.
|
| 7906 |
Thomas enjoyed considerable success as a sculptor chiefly
|
| 7907 |
of portraits but also of ideal or decorative figures for
|
| 7908 |
gardens---for instance, his Le¢P¢."g/£¢ reproduced in the
|
| 7909 |
Royal Society of British Sculpture's Mode" Sc#/p£„rc ( n.d.
|
| 7910 |
but 193940, p. 90)-and for architecture-for instance the
|
| 7911 |
heraldic decorations of the British Pavilion at the New York
|
| 7912 |
World's Fair in 1939, and the sculpture on the rebuilt Church
|
| 7913 |
of All Hallows by the Tower and St John of Jerusalem,
|
| 7914 |
Clerkenwell (both in Iondon). His best-known work,
|
| 7915 |
however, was for the Mint-among it, the rclicf portraits of
|
| 7916 |
Queen Elizabeth 11 for overseas coimge and the coronation
|
| 7917 |
medal and four of the reverses of the new UK coinage issued
|
| 7918 |
for the new reign. (See Who W¢f Who 1971-80 and the
|
| 7919 |
obituary in 7Z7G T¢.owcf, 20 September 1976. )
|
| 7920 |
Archibald Russell becanc a major benefactor of the
|
| 7921 |
Ashmolean Museum, principally by Sfts to the Print Room,
|
| 7922 |
commencing in 1944 with fourteen of his finest drawings
|
| 7923 |
presented through the National Art-Collections Fund in
|
| 7924 |
memory of his son Lieutenant John Anthony Peregrine Russell
|
| 7925 |
who was killed in action in January 1941.
|
| 7926 |
@@PROCESS
|
167
|
| 7928 |
|
| 7929 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 7930 |
Probably the foundry of J. W. Singer, Frome, Somerset
|
| 7931 |
After [William] Hamo THORNYCROFT RA ( 1850-1925)
|
| 7932 |
@@PROCESS
|
| 7933 |
578. The Mower
|
| 7934 |
58.7 cms. (height including plinth); 2.9 cms. (height of plinth);
|
| 7935 |
22.5 cms. (length of plinth); 16.7 cms. (width of plinth)
|
| 7936 |
Bronze with a rich chestnut patina. Hollow, lost-wax, cast. An iron
|
| 7937 |
armature is evident in the underside of the plinth, as is some core.
|
| 7938 |
The plinth may have been separately cast. `Hamo Thomycroft Sc.
|
| 7939 |
1920' is incised in the model on the proper right face of the plinth.
|
| 7940 |
`Hamo Thomycroft RA.' is incised in the model on the upper
|
| 7941 |
surface of the naturalistic plinth beside the figure's proper left foot.
|
| 7942 |
`As the tiny swell of our boat moved the river grass / Stood with
|
| 7943 |
suspended scythe to see us pass / -Matt. Arnold-' is incised in
|
| 7944 |
the model on rcaf face of the plinth, the letters not all distinctly
|
| 7945 |
legible owing to the burr. There is a small mark in front of the
|
| 7946 |
letters on the second line which could be an ampersand.
|
| 7947 |
Given by Agatha Thomycroft, the sculptor's widow ( 1864-1958 ),
|
| 7948 |
in 1940. A letter by her to the Keeper, Ion Robertson, of 24 April
|
| 7949 |
asks whether the Museum would `like to have this statuettcL-possibly
|
| 7950 |
on loan', adding that her late husband would have liked it
|
| 7951 |
to go there.
|
| 7952 |
Thornycroft signed a small wax model of a ih4lo7pGr "etf?.„g in
|
| 7953 |
1882 (Tate Gallery) and was planning a statue early in 1883
|
| 7954 |
when hc fell in love with the l8-year-old Agatha Cox. In
|
| 7955 |
Scptcmber of that year he expressed himself eager to start
|
| 7956 |
work on the clay model. In October he wrote to Agatha, by
|
| 7957 |
now his fiancee, sending her (together with a cookery book)
|
| 7958 |
selections from the poetry of Matthew Arnold in which he
|
| 7959 |
had marked some hnes from `Thyrsis', Arnold's monody
|
| 7960 |
commemorating Arthur Hugh Clough which was first
|
| 7961 |
published in 1866. The poet ponders on the girl who used
|
| 7962 |
to unmoor the skiff in which he and his Oxford friend `track'd
|
| 7963 |
the sly Thames shorc'-
|
| 7964 |
Where are the Mowers, who, as the tiny swell
|
| 7965 |
Of our boat passing heav'd the river-grass,
|
| 7966 |
Stood with suspended scythe to see us pass.>-
|
| 7967 |
They are all gone, and thou art gone as well.
|
| 7968 |
Most of these lines were to be printed in the Royal Academy
|
| 7969 |
catalogue and two of them were to be incised on the sculpture
|
| 7970 |
itself (inaccurately, perhaps from the sculptor's memory).
|
| 7971 |
Despite this association with a nostalSc pastoral the choice
|
| 7972 |
of subject matter may also reflect the political ideas of the
|
| 7973 |
sculptor's fiancee and her `sympathy with the hard-handed
|
| 7974 |
toilers' which he noted in his diary. He later claimed that he
|
| 7975 |
had anticipated both Meunier and Dalou in this heroic
|
| 7976 |
representation of a labourer. But the sculpture seems rather
|
| 7977 |
to blend ancient and modern as Arnold mingles Victorian
|
| 7978 |
Oxford with classical Sicily in his poem. The boots and
|
| 7979 |
leggivgs do make it a modern figure but the occupation is
|
| 7980 |
an ancient one and moreover one with strong symbolic
|
| 7981 |
connotations which are underlined by John Addington
|
| 7982 |
Symond's sonnet of 1884:
|
| 7983 |
Wc bless thee for thy labourer, earthbom, great,
|
| 7984 |
The dumb, sublime, strong scytheman on fate's shore.
|
| 7985 |
@@PROCESS
|
| 7986 |
168
|
| 7987 |
Thornycroft's model during the last three months of 1883
|
| 7988 |
was Orazio Cervi. An early plan seems to have been for him
|
| 7989 |
to wear a shirt and to support the scythe over his shoulder.
|
| 7990 |
The full-sized clay model was completed on 6 April 1884 and
|
| 7991 |
so the figure could be included, as a plaster cast, in the
|
| 7992 |
Academy exhibition of th^at year where Gilbert's Jc¢7'.¢¢J
|
| 7993 |
(No. 500) and Rodin's 4gr ¢'¢¢.„¢¢." (No. 304) were also
|
| 7994 |
shown. It was much praised. The exhibited plaster was cast
|
| 7995 |
in bronze in 1894 and is in the Walker Art Gallery, Liverpool.
|
| 7996 |
A sketch model, 8 inches high, dated 1884, was cast in bronze
|
| 7997 |
(but perhaps at a later date)-there is a version in the Walker
|
| 7998 |
Art Gallery, Liverpool. But the figure is most familiar as a
|
| 7999 |
bronze reduction such as the example catalogued here. One
|
| 8000 |
such was shown at the Royal Academy in 1889. There are
|
| 8001 |
examples in the Tate Gallery (TO 3963), the Harris Art
|
| 8002 |
Gallery, Prcston, and the National Museum of wales, Cardiff,
|
| 8003 |
as well as the Ashmolean Museum. (See E. Manning, A4l¢7ib/c
|
| 8004 |
and Bronze.. The Art and Life Of Huno Thormycroft (London
|
| 8005 |
and Westfield,1982), 88, 91-2, 207.)
|
| 8006 |
In May of 1890 the S¢£"7:dry Rov¢.eta? recorded that
|
| 8007 |
Thornycroft had issued a circular announcing a limited edition
|
| 8008 |
of bronze reproductions of `two of his best known statues'
|
| 8009 |
of which specimens with a variety of patinas could be viewed
|
| 8010 |
at his studio in Kensington. The two statues are likely to have
|
| 8011 |
bccn the GG7¢c7i¢/ Go7¢o" (see No. 579) and 177c A4lo7pe7. The
|
| 8012 |
Tate Gallery cast is incised in the model with 1888 and 1890
|
| 8013 |
and so may well be one of the statuettes made at this time.
|
| 8014 |
It is also numbered 15 (on the upper face of the p.linth behind
|
| 8015 |
the figure). This must have been an attempt to bypass the
|
| 8016 |
West End dealers, and above all Arthur Leslic Collie, who in
|
| 8017 |
the previous year had `published', with great success, the 7
|
| 8018 |
small bronze Go%¢o», cast by I. W. Singer and Son (who had
|
| 8019 |
mastered lost-wax casting at their foundry by 1888). Edmund
|
| 8020 |
Gosse in his article `Sculpture in the House', published in the
|
| 8021 |
A4l¢g#z¢.#G a/A# in 1895, included a photograph of 777G
|
| 8022 |
44lo7per on a marble chimney-piece surrounded by a typical
|
| 8023 |
elaborate overmantel of the period adorned with plates and
|
| 8024 |
vases by Arts and Crafts potters. (S. Beattie, 777c Nim7 Sc#/Pf#7G
|
| 8025 |
(New Haven, Conn., and I.ondon,1983),188-9.) Statuettes
|
| 8026 |
of 777c A4lowG7 continued to be in demand; the date of 1920
|
| 8027 |
on the Ashmolean's bronze may indicate when the sculptor
|
| 8028 |
decided to authorize a new edition-in this connection it is
|
| 8029 |
interesting that Mr Duncan James writing to Gerald Taylor
|
| 8030 |
on 10 July 1972 concerning bronzes in the Museum possibly
|
| 8031 |
cast by the Singer foundry (by then the Morris Singer
|
| 8032 |
Company of Basingstoke), of which he was writing an official
|
| 8033 |
history, mentioned that he had evidence of two casts of I77c
|
| 8034 |
A4:owey being cast by the firm in about 1924. Given that the
|
| 8035 |
Ashmolean's bronze belonged to the sculptor himself it also
|
| 8036 |
provides good evidence of the patina which hc preferred.
|
| 8037 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8038 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8039 |
Probably the foundry of J. W. Singer and Son, Frome,
|
| 8040 |
Somersct
|
| 8041 |
After [WJliam] Hamo THORNYCROFT RA ( 1850-1925)
|
| 8042 |
@@PROCESS
|
| 8043 |
579. Major-General Charles
|
| 8044 |
George Gordon
|
| 8045 |
36.8 cms. (height including integral plinth); 2.2 cms. (height of
|
| 8046 |
integral plinth); 12 cms. (length of plinth); 9.3 cms. (width of
|
| 8047 |
plinth); 12.6 cms. (height of marble pedestal); 14.8 cms. (length
|
| 8048 |
of marble pedestal); 12.8 cms. (width of marble pedestal)
|
| 8049 |
Bronze with a very dark brown patina won to a paler brown in a
|
| 8050 |
few salient areas. Hollow, sand-cast, in pieces. The divisions are not
|
| 8051 |
visible but the interior of the plinth reveals that it was cast together
|
| 8052 |
with the cannon but separately from the figure. `CHARLES GEORGE
|
| 8053 |
GORDON' is chiselled on the front face of the plinth. `puBLlsHED By
|
| 8054 |
ARTHUR LESLIE COLLIE / 398 OLD BOND S'' LONDON MAT 6TH 1889'
|
| 8055 |
is chiselled on the back face of the plinth. `HAMo THORNycROFT
|
| 8056 |
RA. /Sc.1888.' is chisclled on the upper naturalistic surface of the
|
| 8057 |
plinth across the front proper right comer. The baton under the
|
| 8058 |
figure's left elbow is broken off short. The statue came with, but is
|
| 8059 |
not at present displayed upon, a livery russet-coloured marble
|
| 8060 |
pedestal.
|
| 8061 |
Given by Mr D. F. W. Baden-Powell of Stone End, Hinksey,
|
| 8062 |
Oxfordshire, 1968. Registered 10 December.
|
| 8063 |
Cordon is depicted in thought, a cannon ball behind him, his
|
| 8064 |
foot upon a shattered mortar, his hand on a prayer-book, a
|
| 8065 |
baton under his arm, binoculars on his back: a man of vision
|
| 8066 |
and high principle, `rcsolute, solitary, but not sad', on the
|
| 8067 |
field of battle. The statuette differs only in very small detals
|
| 8068 |
from the large bronze statue which was unveiled in Trafalgar
|
| 8069 |
Square on 16 October 1888 and was removed to the garden
|
| 8070 |
of the Thames Embankment after World War 11. Plans for
|
| 8071 |
this statue commenced soon after Gordon's death in January
|
| 8072 |
1885; the commission was given to Thornycroft in August,
|
| 8073 |
hc had made a wax sketch model by January 1886, had
|
| 8074 |
completed a quarter-sized clay model at the end of september
|
| 8075 |
1886, and was working on the full-sized model throughout
|
| 8076 |
the first half of 1887. The bronze casting took place in
|
| 8077 |
October (E. Maming, Marble and Bronz,e: The Art and Life
|
| 8078 |
a/Hfli7ceo T77o7'7eycro/i ( I,ondon and Wcstfield, 1982 ), 1034,
|
| 8079 |
@@PROCESS
|
| 8080 |
107-9, 202-3; S. Beattie, 7%c Nei?7 Sc#/P£"„c (New Haven,
|
| 8081 |
Conn., and I.ondon,1983), 203-5).
|
| 8082 |
Statuettes like the one in the Ashmolcan are not
|
| 8083 |
uncommon. See for example lot 99 at Christie's, London,
|
| 8084 |
24 September 1987; lot 127 at Phillips, I.ondon, I March
|
| 8085 |
1988; and lot 84 at Sothcby's, I.ondon, 28 April 1989.
|
| 8086 |
According to Manning (op. cit.), Thornycroft sold the
|
| 8087 |
copyright to Arthur Conic in January of 1889 for £50 and
|
| 8088 |
one-fifth of the net profits, but there was a separate edition
|
| 8089 |
of half a dozen sold by John Smith. This latter arrangement
|
| 8090 |
probably explains the unmarked versions of the statucttc such
|
| 8091 |
as that exhibited at the Br¢.£?.j4 Sc#/Pf#7c exhibition of the
|
| 8092 |
Fine Art Society in 1968 (as no.167). Susan Bcattie (op. cit.)
|
| 8093 |
points out that Collie exhibited three of the statuettes at the
|
| 8094 |
Arts and Crafts Society exhibition in 1891 with a statuette of
|
| 8095 |
John Bright as a companion piece, and also points out that
|
| 8096 |
@@PROCESS
|
| 8097 |
170
|
| 8098 |
an article of 1892 in the Po7tyro/G.a claims that the casting was
|
| 8099 |
by the firm of singer and Son of Frome. Statuettes of Bright
|
| 8100 |
and Gordon are shown together on bookshelves with
|
| 8101 |
mezzotints after Joshua Reynolds ( such prints wcrc newly
|
| 8102 |
returned to fashion) in an article on small domestic bronzes
|
| 8103 |
by Edmund Gosse in A4l¢g¢2;¢."c a/A7¢ ( 1895), 368
|
| 8104 |
(reproduced by Beattic, op. cit. 191).
|
| 8105 |
Although Thornycroft became interested in lost-wax
|
| 8106 |
casting at the period in which he made this statuette, and
|
| 8107 |
although Singer and Son had new fachities for this process,
|
| 8108 |
the Go7ide# statuettes were sand-cast. It was not the first
|
| 8109 |
work by Thornycroft to be produced in a large edition on a
|
| 8110 |
small scale by this means. His W¢7'7i¢.o7 ¢#¢ ¢ Wo#"¢Gd ro#£fo,
|
| 8111 |
which won a gold medal at the Royal Academy in 1875, was
|
| 8112 |
cast later in an edition by J. A. Hatfield for the Art Union of
|
| 8113 |
I.ondon (rights wcrc obtained in 1876 but the example which
|
| 8114 |
was lot 37 at Sotheby's, Ijondon, 26 November 1986, was
|
| 8115 |
dated 1879) and `Drew and Co.' also signed some small
|
| 8116 |
bronzes of this group (for instance lot 82 at Sotheby's,
|
| 8117 |
Ijondon, 4 November l988)-Drew and Co having taken
|
| 8118 |
over the management of Cox and Sons' foundry at Thames
|
| 8119 |
Ditton (established 1874) shortly before it was taken over by
|
| 8120 |
James Moore.
|
| 8121 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8122 |
@@PROCESS
|
171
|
| 8124 |
|
| 8125 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8126 |
Perhaps the firm of Domenico Brucciani and Sons
|
| 8127 |
After Pictro TORRIGIANO ( 1472-1528)
|
| 8128 |
@@PROCESS
|
| 8129 |
580 and 581. Pair of ornamental
|
| 8130 |
pilasters
|
| 8131 |
80.4 cms. (height of both pilasters); 21 cms. (length and width
|
| 8132 |
of both pilasters)
|
| 8133 |
Plaster of Paris, with considerable ingrained dirt. Hollow cast with
|
| 8134 |
no visible seams. There are many chips missing at the edges but
|
| 8135 |
only a few to the ornamental relief. Some cement adheres to the
|
| 8136 |
base of both pilasters.
|
| 8137 |
Provenance uncertain but there may bc a connection with the `two
|
| 8138 |
square columns of white marble finely sculptured, temp. Hen. VIII'
|
| 8139 |
which were no. 485 on p. 146 of the C¢£#/og#e a/£4e 4r47eeo/G¢„
|
| 8140 |
il4l#fc#ow of 1836 but were sent back to I.ondon to restore Henry
|
| 8141 |
VII's altar in Westminster Abbey by order of the Vice-Chancellor
|
| 8142 |
on 20 March 1880.
|
| 8143 |
The pilasters are cast from two marble oncs closely copied
|
| 8144 |
from two of the four bronze ones at the corners of the
|
| 8145 |
sarcophagus upon which repose the bronze cffiSes of King
|
| 8146 |
Henry VII and his queen executed between 1512 and 1518
|
| 8147 |
by Pietro Torridano for Henry VII's chapel in Westminster
|
| 8148 |
Abbey. Casts of these pilasters are found in Brucciani's
|
| 8149 |
Catalogtte Of Casts fior Schools which the Board of Edttcation
|
| 8150 |
Considers Sttitable for Schools and Classes Receiving Grants
|
| 8151 |
jio7» ¢.i (I.ondon, undated but before 1906 and probably
|
| 8152 |
about 1903), mos. 2306-7.
|
| 8153 |
@@PROCESS
|
| 8154 |
172
|
| 8155 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8156 |
Foundry of Alessandro Parlanti, Parson's Green, Fulham
|
| 8157 |
After Alfred TURNER ( 1874-1940)
|
| 8158 |
@@PROCESS
|
| 8159 |
582. Peace
|
| 8160 |
30.5 cms. (height including integral plinth); 17 cms. (length of
|
| 8161 |
integral plinth); 12.2 cms. (width of integral plinth)
|
| 8162 |
Bronze with a dark brown patina, golden brown in the more salient
|
| 8163 |
parts. Hollow, lost-wax, cast.
|
| 8164 |
Given by the sculptor's daughter, Jessica Tuner of 44 Munster
|
| 8165 |
Road, Fulham, after the exhibition of the work ofAlfred and
|
Winifred Turner held at the Ashmolean Museum, Oxford, 21 June-
|
| 8167 |
20 October 1988, through the National Art-Collections Fund.
|
| 8168 |
The bronze was exhibited at the Royal Academy in 1914
|
| 8169 |
(no. 2131, `Peace---Statuette'). The sculptor's daughter, the
|
| 8170 |
donor, informs me that the statuette was connected with a
|
| 8171 |
commission for a public statue and it features in an old
|
| 8172 |
photograph placed by her in the Tate Gallery archive as part
|
| 8173 |
ofamaquctteforaprojectedmonuinenttoKingEdwardVII.
|
| 8174 |
The monarch was represented standing in front of the plinth
|
| 8175 |
with this figure seated against one side of it (to his left) and
|
| 8176 |
another female personification, probably Justice (she holds a
|
| 8177 |
balance and sword), seated against the other, with a lively
|
| 8178 |
St George on top of a globe crowning the top. If this
|
| 8179 |
monument was actually erected it is curious that there is no
|
| 8180 |
mention of it in the newspaper profiles of Tuner. Tuner was
|
| 8181 |
in1914atthehcightofhispowerandreputation.Thestatuette
|
| 8182 |
isinverymuchthesamestyleashisbronzegroupofMatcrnity
|
| 8183 |
of the Queen Victoria Memorial in Sheffield, completed ten
|
| 8184 |
years before. There is an account of his life and work in the
|
| 8185 |
catalogue of the exhibition at the Ashmolean Museuni
|
mentioned above (pp. 7-32).
|
| 8187 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8188 |
Winifrcd TURNER ( 1903-83)
|
| 8189 |
@@PROCESS
|
| 8190 |
583. Reclining woman with child
|
| 8191 |
30 cms. (height); 52 cms. (length)
|
| 8192 |
Teracotta of a rich orange colour. Incised `Winifred Turncr' by the
|
| 8193 |
feet. An old break in the comer of the mattress plinth behind the
|
| 8194 |
woman's right arm has been repaired.
|
| 8195 |
Given by the sculptor's elder sister, Jessica Tuner of 44 Munster
|
| 8196 |
Road, Fulham, after the exhibition of the work of Alfred and
|
Winifred Turner held at the Ashmolcan Museum, Oxford, 21 June-
|
| 8198 |
2 October 1988, through the National Art-Collections Fund.
|
| 8199 |
The statucttc is similar in style to sculpture which Winifrcd
|
| 8200 |
Turner exhibited in the mid-1930s such as 777o„g4f,
|
| 8201 |
completed by 1933 (Tatc Gallery), or Tty¢./¢j¢f, exhibited
|
| 8202 |
1936 (untraced but reproduced in Ray¢/ Ac¢deny I:##J£"fli£G¢
|
| 8203 |
for that year). Comparable works of this size were included
|
| 8204 |
in the exhibition at the Ashmolean Museum mentioned above
|
| 8205 |
where there is also an account of the sculptor's life and work
|
| 8206 |
(pp. 32-9).
|
| 8207 |
@@PROCESS
|
| 8208 |
174
|
| 8209 |
Ursula TYRWIIITT ( 1872-1966)
|
| 8210 |
@@PROCESS
|
| 8211 |
584. Head of Gwen John
|
| 8212 |
25.7cms. (height); 18cms. (length)
|
| 8213 |
Terracotta of a pale beige colour. Mounted on a soft wood block
|
| 8214 |
covered with mustard yellow velvet. There is a small aperture behind
|
| 8215 |
the head. The head is hollow but plugged with clay at the neck after
|
| 8216 |
modelling. In this plug a rectangular hole has been made for a peg.
|
| 8217 |
Given by the artist in 1965. ReSstered on 25 June
|
| 8218 |
The head is said to have been modelled in about 1907. Gwen
|
| 8219 |
John was then one of Rodin's models in Paris and Tyrwhitt,
|
| 8220 |
who had become a close friend of Gwen John and her brother
|
| 8221 |
at the Sladc in the l890s, was studying at the Atelier Colarossi
|
| 8222 |
there. Rodin was prevailed upon to look at the bust and is
|
| 8223 |
said to have remarked `continuez'. It was Tyrwhitt's only
|
| 8224 |
effort as a sculptor, however, and she was chiefly a painter in
|
| 8225 |
oils and watercolour. She gave the Museum drawings by both
|
| 8226 |
Augustus and Gwen John in 1964 and 1966, together with
|
| 8227 |
drawings and paintings by Wilson Steer, Stanley Spencer, and
|
| 8228 |
others. A misleading note in the Register dates the head to
|
| 8229 |
1921. A reminiscence of the artist by Richard Buckle is
|
| 8230 |
published in the catalogue of the exhibition Urf#/¢ I)i7ia?¢z.#..
|
| 8231 |
O#o"¢ P¢¢.„}Gr ¢7¢d Co//Gcfor held at the Ashmolean Museum
|
| 8232 |
October-November 1974 (in which the head was no. 49).
|
| 8233 |
Mrs Tyrwhitt lived for many years at 225 Iffley Road, Oxford.
|
| 8234 |
Her husband, Walter Tyrwhitt, was a second cousin and his
|
| 8235 |
branch of the fandly had been long settled in Oxford. The
|
| 8236 |
head seems to have been valued by the artist and was included
|
| 8237 |
in the Gwen John Memorial Exhibition at the Matthiesen
|
| 8238 |
Gauery, New Bond St, in 1946.
|
| 8239 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8240 |
Factory of )osiali WEDGWOOD ( 1730-95)
|
| 8241 |
Probably after models by Henry Webbcr ( 1754-1826)
|
| 8242 |
@@PROCESS
|
| 8243 |
585 and 586. Pair of `bouquetiers'
|
| 8244 |
in the form of sarcophagi rising
|
| 8245 |
from banks upon which figures of
|
| 8246 |
Zephyr (585) and Flora (586)
|
| 8247 |
recline, leaning against urns
|
| 8248 |
14.9 cms. (height of 585); 21.I cms. (length of 585); 12.5 cms.
|
| 8249 |
(width of 585); 15 cms. (height of 586); 20.3 cms. (length of
|
| 8250 |
@@PROCESS
|
| 8251 |
586); 12.I cms. (width of 586)
|
| 8252 |
`Jasper ware' (fine hard stoneware, both pure white and stained).
|
| 8253 |
The figures and the ornaments are white, the rest the distinctive
|
| 8254 |
pale blue associated with Wedgwood. The banks, the sarcophagi,
|
| 8255 |
and their plinths seem to have been cast as one hollow unit from
|
| 8256 |
the sane mould in both 585 and 586. A platform was then fixed
|
| 8257 |
below and other elements-the figures (cast from a piece-mould),
|
| 8258 |
the uns, and the semi-transparent ornaments on the uns and
|
| 8259 |
sarcophad and leaves on the banks (the fomer from moulds, the
|
| 8260 |
latter freely modelled)-were added before firing. The figures are
|
| 8261 |
hollow as can be seen if Zephyr is examined from behind. In the case
|
| 8262 |
of 585 there are some losses on the thin leaves appred to the bank,
|
| 8263 |
and tiny cracks in the drapery by the side of the figure's left thigh,
|
| 8264 |
a chip missing from the top of the urn, and a minute one from one
|
| 8265 |
corner of the top of the sarcophagus. In the case of 586 there are
|
| 8266 |
tiny chips missing from the edge of the sarcophagus and minute
|
| 8267 |
firing cracks at the junction of the figure's right arm and her drapery
|
| 8268 |
and on the ledge beside her left arm. There are slight flaws in the
|
| 8269 |
casting of the figure's right foot distorting the distance between her
|
| 8270 |
largest toes and also the shape of her smallest toe. `WEDGwooD' is
|
| 8271 |
impressed on the underside of both 594 and 595.
|
| 8272 |
Bequeathed by C. D. E. Fortnum in 1899. C. 289 and C. 290 in his
|
| 8273 |
large manuscript catalogue. These items, together with a blue and
|
| 8274 |
white cup and saucer (C. 291-2), `and other pieces of that same
|
| 8275 |
servicethreevasesandotherswereinapalaceatForh'andpurchascd,
|
| 8276 |
after, by me'. No date is given for the purchase but it is likely to
|
| 8277 |
have been in 1880 or shortly before. It is not included in the
|
| 8278 |
notebook catalogue compiled in the 1870s and is a lower number
|
| 8279 |
than C. 297 which was a piece ofwedgwood acquired in 1880.
|
| 8280 |
Fortnun described these pieces as `jardinieres or crocus vases'
|
| 8281 |
but they are more likely to have been `bough pots' or
|
| 8282 |
`bouquetiers' (Wedgwood's terms) for the display of cut
|
| 8283 |
flowers. Water could easily be poured in and out through the
|
| 8284 |
Hms beside the figures but it would be hard to introduce, and
|
| 8285 |
mpossible to remove, soil such as jardiniercs require.
|
| 8286 |
Fortnum in his large catalogue understandably identified the
|
| 8287 |
figures as `Cupid' and `? Psyche' but C. F. Ben altered this
|
| 8288 |
to read `Zephyrus' and `Flora', surely correctly. The female
|
| 8289 |
figure is identified as Psyche in the versions in green and
|
| 8290 |
white and blue and white jasper in the conection of Arthur
|
| 8291 |
Sanderson (F. RIthbone, A C¢£¢/og#c a/¢ Co//Gcffo% . . .
|
| 8292 |
(Ijondon, 1903), 45, nos.105, 106). iinother blue and white
|
| 8293 |
version in inferior condition is in the Buten Muscun of
|
| 8294 |
Wedgwood, Merion, Pennsylvania (H. M. Butcn, WGdgrwood
|
| 8295 |
R¢%.£¢.cf (Merion, 1969), 193, no. 3555). Versions have been
|
| 8296 |
dated 1780 and 1790 (Rathbone, op. cit.). Robin Rcilly
|
| 8297 |
informs mc that he has found no record of these pieces either
|
| 8298 |
in early catalogues or in manuscript records and notes that
|
| 8299 |
they arc very rare. Hc considers it likely that they were first
|
| 8300 |
produced c.1790-5. They have been attributed both to Henry
|
| 8301 |
Webber and to John Flaxman, but the style would be unusual
|
| 8302 |
for the latter. Webber was the son of a Swiss sculptor and a
|
| 8303 |
pupil of John Bacon. Hc was active as a modeller in wax and
|
| 8304 |
his first exhibit at the Royal Academy in 1775 was in this
|
| 8305 |
medium. In 1784 he entered into a seven-year contract with
|
| 8306 |
WedgwoodasamodcllerontherccommendationofReynolds
|
| 8307 |
and Chambers and he travelled to Rome and sent work back
|
| 8308 |
from there. His only large-scale work in marble is the
|
| 8309 |
monument to David Garrick in Westminster Abbey dated
|
| 8310 |
1797 in which the drapery folds are relatively smaller, and
|
| 8311 |
more repeated, than in these figurincslloser in style to
|
| 8312 |
Bacon.
|
| 8313 |
Fortnum was not a keen collector of British ceramics as he
|
| 8314 |
was of Italian Renaissance ones, but he liked to have samples
|
| 8315 |
of all major factories and bodies. Significantly these items were
|
| 8316 |
notacquiredinBritain,whercWedgwoodwaskeenlycollected
|
| 8317 |
by others, but in Italy. These `Bouquetiers' and some other
|
| 8318 |
pieces were, it seems, picked up by him in Ford' (where he
|
| 8319 |
rfught wen have been looking for mar'olica); a Wedgwood
|
| 8320 |
scent bottle (C. 297) was given to his wife by Alessandro
|
| 8321 |
Castcllani in Rome in 1880.
|
| 8322 |
@@PROCESS
|
175
|
| 8324 |
|
| 8325 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8326 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8327 |
@@PROCESS
|
| 8328 |
176
|
| 8329 |
Henry WEEKES RA ( 1807-77)
|
| 8330 |
@@PROCESS
|
| 8331 |
587. Bust portrait of an unknown
|
| 8332 |
man
|
| 8333 |
79.5 cms. (height including socle); 49 cms. (width); 13 cms.
|
| 8334 |
(height of socle)
|
| 8335 |
Plaster of Paris, coloured irregularly yellow-grey with spots of white
|
| 8336 |
revealed in parts where scratched or worn. Thick hollow cast. No
|
| 8337 |
seams are visible. The socle is broken and a large portion is missing.
|
| 8338 |
`H. WEEKES. SC.' is incised across the flat back of the bust. A paper
|
| 8339 |
label was formerly attached to the chest printed with the numerals
|
| 8340 |
@@PROCESS
|
| 8341 |
182.
|
| 8342 |
Given by Mrs Austin Imgland of Clanfield House, Abingdon, in
|
| 8343 |
1973. ReSstered 3 May.
|
| 8344 |
A portrait of this type, with the generalized treatment of heavy
|
| 8345 |
drapery in the manner of Chantrey, for whom Wcckes worked
|
| 8346 |
as assistant and whose studio he took over in 1841, is hard
|
| 8347 |
to date but is most characteristic of weekes during the 1830s
|
| 8348 |
before he strove to achieve a more independent manner.
|
| 8349 |
@@PROCESS
|
177
|
| 8351 |
|
| 8352 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8353 |
Sir RIchard WESTMACOTT RA ( 1775-1856)
|
| 8354 |
@@PROCESS
|
| 8355 |
588. Hindu girl (fragment)
|
| 8356 |
32.5 cms (height); 41 cms. (length)
|
| 8357 |
Plaster of Paris, painted with a creamy stone colour. Hollow cast
|
| 8358 |
from a piece-mould with numerous vestigial seams rcmalning. The
|
| 8359 |
work is sawn across the upper chest. The sculpture was cleaned and
|
| 8360 |
restored in 1987 by Miss Rachel Kenward. A patch of cracked
|
| 8361 |
plaster across the front of the chest and a dent in the chin and the
|
| 8362 |
recently drilled-out eyes were repaired and painted to match the
|
| 8363 |
rest of the bust.
|
| 8364 |
Given to the University Galleries by the sculptor in 1851 (see
|
| 8365 |
Preliminary Essay 2). According to the H¢7?d4oo4 G#;dc of 1859 it
|
| 8366 |
was on display at the west end of the principal sculpture gallery (the
|
| 8367 |
Randolph Gallery) companion with a Brahmin also by Westmacott.
|
| 8368 |
It was still there in 1865 but was probably removed in the l880s
|
| 8369 |
and has been in store during the whole of this century. It was sawn
|
| 8370 |
up in 1939.
|
| 8371 |
Wcstmacott's monument to Alcxandcr Colvin is in St John's,
|
| 8372 |
the old Cathedral of Calcutta. It consists of a high refief of
|
| 8373 |
two female personifications-Commerce with a caduceus and
|
| 8374 |
Industry with a beehive-seated in an embrace above a
|
| 8375 |
sarcophagus which is inscribed `To the memory of/ Alexander
|
| 8376 |
Colvin. / This tablet is inscribed by/ The Merchants of
|
| 8377 |
Calcutta, / Who having for forty years witnessed in him / An
|
| 8378 |
union of those talents and virtues / Which best adorn their
|
| 8379 |
profession / Do most honor to a character in private
|
| 8380 |
life / Thus record / Their affectionate esteem for him whilst
|
| 8381 |
living, / And their sorrow for his death. / Born IIIrd APRIL
|
| 8382 |
@@PROCESS
|
| 8383 |
178
|
| 8384 |
A.D. MDCCLVI. / Died XVI DECEMR A.D.
|
| 8385 |
MDCCCXVIII.' On a ledge in front of the sarcophagus to
|
| 8386 |
the bcholder's left is crouched a Hindu girl on a mat with
|
| 8387 |
her right hand upon her raised left knee and her other upon
|
| 8388 |
a water jar, her pensive expression indicating her grief at the
|
| 8389 |
loss of her benefactor.
|
| 8390 |
The monument is dated 1821 (and was therefore
|
| 8391 |
completed, but not necessarily erected, by then). Westmacott
|
| 8392 |
exhibited this figure at the Royal Academy in that year
|
| 8393 |
(no.1085, `A Hindoo girl; a statue in marble being pall of
|
| 8394 |
a monument to be erected in memory of Alexander Colvin,
|
| 8395 |
Esq.'). The idea of exhibiting a separate pathetic figure from
|
| 8396 |
a monument at the Royal Academy exhibition can be traced
|
| 8397 |
back to 1815 when Wcstmacott showed the kneeling negro
|
| 8398 |
slave from his monument to Charles James Fox made for
|
| 8399 |
Westminster Abbey. In 1819 he exhibited a mourning
|
| 8400 |
`Pcasant Girl' from his monument to Ijord Penrhyn at
|
| 8401 |
Llandcgai in North Wales (for which see N. 8. I'enny, C¢#grc¢
|
| 8402 |
Monttments in Romantic England (Now HZNen, Corin., and
|
| 8403 |
I.ondon,1977),189-92). The success of these may have
|
| 8404 |
emboldened him to create his Ho#Jc/cJf £7i¢77c//c7', an
|
| 8405 |
independent figure which although designed as a monument
|
| 8406 |
was, significantly, purchased as a gallery piece (for Bowood
|
| 8407 |
by the earl of Lansdowne) when exhibited at the Academy
|
| 8408 |
in 1822. The `Brahmin' and `Mussulman Moulah' from his
|
| 8409 |
monument to Warren Hastings in Calcutta which
|
| 8410 |
Westmacott exhibited in 1829 owed something to the II¢.#d"
|
| 8411 |
g¢.71/ of 1821, whose significance had, however, never been as
|
| 8412 |
precise as these.
|
| 8413 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8414 |
Sir Richard WESTMACOTT RA ( 1775-1856)
|
| 8415 |
@@PROCESS
|
| 8416 |
589. Trial of socrates
|
| 8417 |
76.5 cms. (height); 128 cms. (length)
|
| 8418 |
Plaster of Paris, palntcd a creamy stone colour. The paint is
|
| 8419 |
extensively flaking especially on the podium and the figures of the
|
| 8420 |
judges and above the head of socrates. There are numerous small
|
| 8421 |
scratches and losses and chips are missing from the cloak of the
|
| 8422 |
figure leaning on a staff, from the top left corner, and from the
|
| 8423 |
projecting front ledge
|
| 8424 |
Given to the University Galleries by the sculptor in 1851 (see
|
| 8425 |
Preliminary Essay 2). According to the ZJ¢7¢dfroo4 G#¢.de of 1859 it
|
| 8426 |
was on display near Flaxman's S¢G.G/d a/Ac4¢.//" at the top of the
|
| 8427 |
stairs leading from the main sculpture gallery (the Randolph Gallery)
|
| 8428 |
to the Crypt or sub-gallery. It was still there in 1865 but was
|
| 8429 |
probably removed in the 1880s and has been in store during the
|
| 8430 |
whole of this century.
|
| 8431 |
Westmacott's relief of the Ty¢.¢/ a/Soc7¢££f was commissioned
|
| 8432 |
by Thomas Coke of Norfolk (later first carl of Leicester of
|
| 8433 |
the second creation) for his seat Holkham Hall. It was fiilly
|
| 8434 |
paid for on 27 December 1824 and was probably by then
|
| 8435 |
fixed in place in the great entrance hall where it remains. The
|
| 8436 |
total cost was £3616J. The first payment of fl50 was made
|
| 8437 |
in October 1821, but the work seems to have been
|
| 8438 |
contemplated if not commissioncd by 21 July 1818,
|
| 8439 |
apparently as a reflection of political pamphlets published in
|
| 8440 |
the previous year which attacked and defended Coke's Whig
|
| 8441 |
stance against the government's suspension of habcas corpus
|
| 8442 |
citing the trial of Socrates. Chantrey's relief of the signing of
|
| 8443 |
Magna Carta was made a decade later as a companion piece.
|
| 8444 |
These and other reliefs at Holkham are discussed and
|
| 8445 |
illustrated by W. 0. Hassall and N. 8. Penny, `Political
|
Sculpture at Holkham', Co#%o¢.jirG#gr (July 1977), 207-11.
|
| 8447 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8448 |
Sir RIchard WESTMACOTT RA ( 1775-1856)
|
| 8449 |
@@PROCESS
|
| 8450 |
590. Nymph with Zephyr
|
| 8451 |
(fragment)
|
| 8452 |
30.9 cms. (height); 36.4 cms. (width)
|
| 8453 |
Plaster of Paris, coated with shellac, now discoloured. Hollow cast,
|
| 8454 |
recording the lost original clay model. The work is sawn across the
|
| 8455 |
back wall of plaster and cracked across the thinner front wall. The
|
| 8456 |
nymph's ralscd left arm is terminated at what was an oridnal joint
|
| 8457 |
in the cast. The broken pine support now projecting was thrust into
|
| 8458 |
the wet plaster of the cast body to serve as an armature for the
|
| 8459 |
separately cast arm which would be slipped over it.
|
| 8460 |
Given to the University Galleries by the sculptor in 1851 (see
|
| 8461 |
Preliminary Essay 2). According to the H¢„¢froo¢ G#£de of 1859 it
|
| 8462 |
was on display in a recess of the Chantrey Gallery (the present Ruskin
|
| 8463 |
Lecture Hall) companion with a `Beggar Girl' (the Q)(Pry, No. 601).
|
| 8464 |
It was still there in 1865 but was probably removed in the l880s
|
| 8465 |
and has been in store during the whole of this century. It was sawn
|
| 8466 |
up in 1939.
|
| 8467 |
Westmacott's `Groupe, in marble of a Nymph and Zephyr,
|
| 8468 |
for the Gallery of Earl Grosvenor', consisting of a nude givl
|
| 8469 |
clutching a putto with butterfly wings to her bosom with her
|
| 8470 |
@@PROCESS
|
| 8471 |
180
|
| 8472 |
right arm and holding a butterfly just out of his reach with
|
| 8473 |
her left, was exhibited at the Royal Academy in 1828 (as
|
| 8474 |
no.1214). The group was a variant on a theme Westmacott
|
| 8475 |
commenced in the Nyowp¢ 7pG.*¢ Cape.¢ exhibited the year
|
| 8476 |
before (for the earl of Egremont at Petworth). He employed
|
| 8477 |
the same model for both these nymphs and for his N)JowP47
|
| 8478 |
#»c/4JJP¢."g 4G7 zo7¢e exhibited 1824 ( fomerly at Castle
|
| 8479 |
Howard, the plaster of which survives in the Soane Museum).
|
| 8480 |
The Nyowp¢ w¢.£¢ Zcpkyr was commissioned by the second
|
| 8481 |
Earl Grosvenor (later marquess of westminster) and survives
|
| 8482 |
in the family possession (with some small sad losses) at Eaton
|
| 8483 |
Hall, Cheshire. The esteem with which it was regarded when
|
| 8484 |
acquired is reflected by its inclusion among the art treasures
|
| 8485 |
in the group portrait of the Grosvcnor family in the sumptuous
|
| 8486 |
new gallery of their I,ondon house painted by Charles Robert
|
| 8487 |
Leslie in 1831 ( 777c Trc¢f#rc Ho#fGf a/B".ira;¢." (National
|
| 8488 |
Gallery of Art, Washington,1985), no. 530, p. 580). With
|
| 8489 |
the exception of the unsuccessful Eap¢rny"c, the Nyowp¢ ¢»¢
|
| 8490 |
ZGpkyr was Westmacott's last exercise in the mode of
|
| 8491 |
Canovian classical sculpture which he commenced in 1822
|
| 8492 |
(the year of Canova's death) with his C„P¢.d and Pryc4c for
|
| 8493 |
the duke of Bcdford.
|
| 8494 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8495 |
@@PROCESS
|
181
|
| 8497 |
|
| 8498 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8499 |
Sir Richard WESTMACOTT RA ( 1775-1856)
|
| 8500 |
@@PROCESS
|
| 8501 |
591. Bust portrait of the llth earl
|
| 8502 |
of Pembroke
|
| 8503 |
56 cms. (height, including socle); 13 cms. (height of socle);
|
| 8504 |
20 cms. (diameter of soclc)
|
| 8505 |
Plaster of Paris, painted a creamy stone colour in two coats on top
|
| 8506 |
of a dirty and yellowed coat of shellac. The paint has flaked
|
| 8507 |
extensively and on the socle the dirty layer is exposed. The cast has
|
| 8508 |
thick walls. Thcrc is a crack across the neck and collarbone.
|
| 8509 |
`WESTMACoTr' is stamped in the plaster on the back of the socle.
|
| 8510 |
`100' is printed on a paper label stuck to the tablet of the socle.
|
| 8511 |
Given to the University Galleries by the sculptor in 1851 (see
|
| 8512 |
Preliminary Essay 2). Probably displayed with the busts by Chantrey
|
| 8513 |
for about thirty years and thereafter stored with them. I.ong believed
|
| 8514 |
to be one of the busts by Chantrey.
|
| 8515 |
Westmacott's monument to the eleventh earl of Pembroke in
|
| 8516 |
the nco-Romanesque parish church at Wilton, Wiltshire,
|
| 8517 |
consists of a relief of a group of peasants lamenting their
|
| 8518 |
protector whose bust is placed in a tondo above (see N. 8. -Penny , Church Monuments in Romantic_ Pngl?nd I:r:: ,
|
| 8519 |
Haven, Conn., and Ijondon, 1977), pl.18 and p.196). This
|
| 8520 |
bust is the same as the version on the monument but without
|
| 8521 |
drapery and with a socle. The earl died in 1827. A marble
|
| 8522 |
version of the bust in Wilton House is dated 1830.
|
| 8523 |
@@PROCESS
|
| 8524 |
182
|
| 8525 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8526 |
Sir Richard WESTMACOTT RA ( 1775-1856)
|
| 8527 |
@@PROCESS
|
| 8528 |
592. Gypsy (fragment)
|
| 8529 |
29 cms. (height from fractured chest to top of head)
|
| 8530 |
plaster of Paris, painted, probably oridnally, with a creamy stone
|
| 8531 |
colour now brown. Hollow cast, recording the lost original clay
|
| 8532 |
model. The work is sawn across the upper chest and smashed,
|
| 8533 |
perhaps subsequently, around the sawn edge. The sculpture was
|
| 8534 |
cleaned in 1987 by Miss Rachel Kcnward.
|
| 8535 |
Given to the University Galleries by the sculptor in 1851 (see
|
| 8536 |
Preliminary Essay 2). According to the H¢»d4oo4 G"¢.de of 1859 it
|
| 8537 |
was on display in a recess of the Chantrcy Gallery (the present Ruskin
|
| 8538 |
Lecture Hall) companion with a `Nymph and Cupid' (Nyowp47 wZ£¢
|
| 8539 |
ZGpkyr, No. 590). It was still there in 1865 but was probably removed
|
| 8540 |
in the 1880s and has been in store during the whole of this century.
|
| 8541 |
It was sawn up in 1939.
|
| 8542 |
Westmacott's sculpture of a seated gypsy girl exhibited at the
|
| 8543 |
Royal Academy in 1832 (no. I 178, as `The Gipsey; a statue
|
| 8544 |
in marble'), was acquired by the fourth earl of Egremont for
|
| 8545 |
the great sculpture collection at Silvcrton Park, but is now
|
| 8546 |
untraced. In a letter of 12 January 1852 in the Department's
|
| 8547 |
archives Wcstmacott recalls that `In executing this statue I
|
| 8548 |
had overlooked a pecuharity, and it brought on me a reproof
|
| 8549 |
from her Mother on sccing the model, she said it was not
|
| 8550 |
her Daughter, on asking an explanation it appeared I had not
|
| 8551 |
noticed a lock of hair on her forehead, which was separated
|
| 8552 |
from the mass, and passed over it. It was the badge of her
|
| 8553 |
Tribe. The work was only in clay, and my modelling stick
|
| 8554 |
corrected the oversight in a moment, and the old Mother and
|
| 8555 |
I became good ffiends.' Family papers at Orchard Wyndham
|
| 8556 |
reveal that Westmacott sold antique marbles and vases to the
|
| 8557 |
fourth earl of Egremont during the 1830s when he was tr}ing
|
| 8558 |
to crcatc at Silvcrton a gauery to rival that at Pctworth created
|
| 8559 |
by previous earls, a gallery which he had not inherited with
|
| 8560 |
the title.
|
| 8561 |
@@PROCESS
|
183
|
| 8563 |
|
| 8564 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8565 |
@@PROCESS
|
| 8566 |
184
|
| 8567 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8568 |
Joseph WILLEMS (d. 1766)
|
| 8569 |
@@PROCESS
|
| 8570 |
593 and 594. Lady and gentleman
|
| 8571 |
dancing
|
| 8572 |
31.2 cms. (height of male figure (593) including plinth); I.3 cms.
|
| 8573 |
(height of plinth); 10.7 cms. (length of plinth); 9.I cms. (width
|
| 8574 |
of plinth); 30.6 cms. (height of female figure (594) including
|
| 8575 |
plinth); I.3 cms. (height of plinth); 11.I cms. (length of plinth);
|
| 8576 |
10.6 cms. (width of plinth)
|
| 8577 |
Terracotta of a rich orange colour painted in oil colours. The colours
|
| 8578 |
have held well: both faces retaining some rose in the cheeks. The
|
| 8579 |
|ady's blue ribbon matches the gcntleman's waistcoat. The prevailing
|
| 8580 |
colour is of slightly green grey stone. The paint has crazed and
|
| 8581 |
wrinkled extensively and flaked off in some areas to reveal a pale
|
| 8582 |
ycllowed gesso preparation in some cases and in others the clay
|
| 8583 |
itself. There are traces of gilding on the lady's bodice. The lady has
|
| 8584 |
been hollowed but the aperture in the underside of the plinth has
|
| 8585 |
been smeared over so as to be considerably smaller than the hollow.
|
| 8586 |
The gentleman is of similar weight but if hc has bccn hollowed
|
| 8587 |
(which is likely) then the plinth has been built up afterwards. Thcrc
|
| 8588 |
is a break through the man's left thigh and the contiguous corner of
|
| 8589 |
his jacket. Chips are missing from his right sleeve and from the back
|
| 8590 |
corner of his tricom hat. There is a break through the lady's neck
|
| 8591 |
and the plaster repair of this is evident. There is also a break across
|
| 8592 |
the front left corner of the plinth. `WILLEMs 1749' in large irregular
|
| 8593 |
capitals is incised on the proper left face of both plinths, the date in
|
| 8594 |
the case of the male figure running on to the chamfered corner.
|
| 8595 |
The letters arc angular (the `W', typically, composed of two `V's).
|
| 8596 |
They have no burr and the clay surface sccms not to have risen in
|
| 8597 |
response to the downward pressure of the strokes. They must have
|
| 8598 |
bccn cut in the leather-hard clay.
|
| 8599 |
Given by the dealer Cyril da Costa Andradc of Morocco House,
|
| 8600 |
Bayard's Cove, nr. Dartmouth, Devon. Redstered (as `Figures of
|
| 8601 |
Actor and Actress') on 12 May 1959. A note in the RCSster records
|
| 8602 |
their acquisition for 165 guineas from the collection of `Fred Skull,
|
| 8603 |
High Wycombc' with the refcrcnce Christie's, 234 April 1952, lot
|
| 8604 |
78. For other gifts by Andrade see Nos. 457, 487, and 570. The
|
| 8605 |
figures seem always to have been displayed in the Chambers Hall
|
| 8606 |
Room.
|
| 8607 |
Willems is described in his own will as born in Brussels but
|
| 8608 |
at what date is unknown. Hc married in Tournai in 1739 so
|
| 8609 |
he is likely to have been born before 1720. He is known to
|
| 8610 |
have worked as a modeller at the Chelsea porcelain factory
|
| 8611 |
of Nicolas Sprimont and it is tempting to associate him with
|
| 8612 |
the commencement of an interest in figurative models taken
|
| 8613 |
by that factory after 1749 (when Sprimont's partner Gouyn
|
| 8614 |
retired) or at least with the estabhshment of a `house style'
|
| 8615 |
in modelling after about 1753. The evidence of his association
|
| 8616 |
with Chelsca cannot, however, be documented previous to
|
| 8617 |
1755-8 when `Williams' and Sprimont were mentioned
|
| 8618 |
together in the Chelsea rate books as tenants of a house thcrc.
|
| 8619 |
In 1763 hc is recorded-this time correctly spelt `Willems'-
|
| 8620 |
in „o7f¢.owG7'f U„¢.pGr£4r/ D¢.rccfory ((I.ondon, 1763), i. 19)
|
| 8621 |
as `Modellcr at the Brussels Coffcc House, Chelsea' where hc
|
| 8622 |
taught drawing and modeuing, with the note that `he has
|
| 8623 |
modelled for the Chelsea china factory for many years'. It
|
| 8624 |
seems reasonable to identify him with the Williams who
|
| 8625 |
exhibited at the Society of Artists between 1761 and 1766,
|
| 8626 |
not least because some of his works (for example, `A model
|
| 8627 |
of Leda' and `A figure of cleo [Clio]' in 1763) were subjects
|
| 8628 |
treated in porcelain. He left Enaland soon after February 1766,
|
| 8629 |
invited to the Tournal porcelain factory by its director, and
|
| 8630 |
died in Toumal on I November. The posthumous inventory
|
| 8631 |
of his effects included `plusicurs grouppes de rondc bosse de
|
| 8632 |
terre cuite et color6cs cn blanc de sa composition et par lui
|
| 8633 |
modcl€es'. (A. I.ane, `Chclsca Porcelain Figures and the
|
| 8634 |
Modeller Joseph Willcms', Co„"o¢.ffc#r (May 1960), 245-
|
| 8635 |
51.)
|
| 8636 |
From the above account the importance of the signed
|
| 8637 |
models in the Ashmolean is clear. `Hitherto wc have not been
|
| 8638 |
able to confirm Willems's presence in England, or at Chelsea,
|
| 8639 |
before 1755. But an important document has now come to
|
| 8640 |
light in the form of two terracotta figurcs', wrote Arthur
|
| 8641 |
Lane. `We cannot say for certain whcthcr the artist made
|
| 8642 |
them here, or brought them with him ready-made from
|
| 8643 |
abroad. But we may presume that Willems must by then
|
| 8644 |
[ 1749] have reached Enaland, and been available for
|
| 8645 |
employment by his fellow-countryman Sprimont at the very
|
| 8646 |
moment when the Chelsea factory embarked on its new
|
| 8647 |
programme of making figures' (ibid. 248). I.one proceeded
|
| 8648 |
to point out the affinities in style between the figures and
|
| 8649 |
those in Chelsea porcelain. No figures in porcelain correspond
|
| 8650 |
in pose but there are a number which are not dissimilar,
|
| 8651 |
although more ornamental in colouring and accessories and
|
| 8652 |
in the handling of the extrcmitics. Those in the so-called
|
| 8653 |
Maypole group are particularly close (an example is on loan
|
| 8654 |
to the Fitzwilliam Museum, Cambridge 85-1955).
|
| 8655 |
There is no reason to suspect the antiquity of the terracotta
|
| 8656 |
dancers. Some at least of the colour is untikely to be origival
|
| 8657 |
(it covers chips which are unlikely to be kiln losscs). The
|
| 8658 |
cream underpainting may well correspond with the `blanc'
|
| 8659 |
finish mentioned in the artist's inventory. It should be
|
| 8660 |
observed, though, that the signatures and dates are
|
| 8661 |
suspiciously convenient in that they turn the figures into
|
| 8662 |
exactly the `document' porcelain historians wanted. The form
|
| 8663 |
and size of the letters and style of the sigmturc (with no f or
|
| 8664 |
fecit) are unusual in the eighteenth century.
|
| 8665 |
A sample was taken fi-om the female figure by Mrs Dorcen
|
| 8666 |
Stoneham of the Research Laboratory for Art and
|
| 8667 |
Archaeology in March 1987 and thermo-luminescencc tests
|
suggcstcd a firing date between 1677 and 1787 (ref. 38l-z-
|
| 8669 |
90).
|
| 8670 |
@@PROCESS
|
185
|
| 8672 |
|
| 8673 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8674 |
h,,",#:,,..,,,i,,:ife'':i,;
|
| 8675 |
fry,i,;'#|ki#ELrEiir,,,'`'';j!#,`;###r'``'T:T''`':'i':;.I:'':''lffi
|
| 8676 |
.r,t+;,.,..::F:'+iifeife:'#':
|
| 8677 |
;,i:£±-,.:.f;:ii:,,.`':tii,*,,,,,,lj,,"''"i..",,,;`:ffi##,,1!!,
|
| 8678 |
I-,T--.I:+
|
| 8679 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8680 |
[Francis] Dcrwent WOOD ( 1871-1926)
|
| 8681 |
@@PROCESS
|
| 8682 |
595. Bust portrait of Mrs Otto
|
| 8683 |
Gutekunst
|
| 8684 |
60 cms. (height); 49 cms. (length)
|
| 8685 |
Carrara marble. `Derwcnt Wood 1915' is chisellcd in small cursive
|
| 8686 |
letters to proper left of bust in the rough marble area below the
|
| 8687 |
bosom. The bust was accidentally knocked off its pcdcstal during
|
| 8688 |
the 1970s and broken clean across the neck. It was repaired 1983-
|
| 8689 |
4 by David Armitage of the Department of Eastern Art and the join
|
| 8690 |
is no longer apparent.
|
| 8691 |
Presented in 1948 by Mrs Otto Gutekunst (then of the Hotel
|
| 8692 |
Montana, I.ausanne) in memory of her husband. Registered on
|
| 8693 |
16 December. The bust stood until it was knocked off a pedestal
|
| 8694 |
behind the door of 4l Beaumont Street. Since restoration it has been
|
| 8695 |
in basement storage. The bust was given by Mrs Gutckunst together
|
| 8696 |
with a bronze head of a young boy. For other gifts by her see the
|
| 8697 |
Preliminary Essay to vol. ii.
|
| 8698 |
Mrs Gutekunst was the wife of a leading London art dealer
|
| 8699 |
associated, in the early years of the century, with the firm of
|
| 8700 |
Colnaghi. Dcrwcnt Wood was much in demand for his
|
| 8701 |
portrait busts from 1901, when hc was first established in
|
| 8702 |
I.ondon, until his death. The merging of the off-shoulder
|
| 8703 |
gown with rough-hewn marble was a motif made popular in
|
| 8704 |
high-society bust portraiture by Rodin of a kind which Wood
|
| 8705 |
must have sccn when he was in Paris in 1895 with a Royal
|
| 8706 |
Academy gold medal travelling scholarship. Notable examples
|
| 8707 |
of such busts by Rodin of English sitters wee exhibited in
|
| 8708 |
I.ondon in the early years of the twentieth century-for
|
| 8709 |
instance, the bust of Mrs Charles Hunter of 1908 (now
|
| 8710 |
belongivg to the Tate Gallery but on loan to Bethnal Green
|
| 8711 |
M:userm+-R. AINey , Catalogtte Of the Ta[te Gallery's Collection
|
| 8712 |
Of Mode1'.n Art other than Works ky British Artists (.hondor\,
|
| 8713 |
1981 ), 649-50, no. 4116).
|
| 8714 |
@@PROCESS
|
187
|
| 8716 |
|
| 8717 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8718 |
Thomas WOOLNER RA ( 1825-92)
|
| 8719 |
@@PROCESS
|
| 8720 |
596. Bust portrait of Thomas
|
| 8721 |
Combe
|
| 8722 |
64.9 cms. (height of bust); 25.5 cms. (length of base of bust);
|
| 8723 |
18 cms. (width of base of bust); 123 cms. (height of pedestal);
|
| 8724 |
44.2 cms. (length of plinth of pedestal); 37.5 cms (width of plinth
|
| 8725 |
of pedestal)
|
| 8726 |
White Carrara marble, brown and grey with ingrained dust. The
|
| 8727 |
bust and its base are made of a single piece of marble. The surface
|
| 8728 |
of the marble has been grooved with the toothed chisel at the cutting
|
| 8729 |
of the chest, textured with smaller chisels around the base and in hair
|
| 8730 |
and beard, and retains the marks of a rasp all over the flesh. `T.
|
| 8731 |
wooLNER. SS / £oNDON' is chiselled on the proper left face of the
|
| 8732 |
base of the bust under the shoulder. `THOMAS CoMBE 1863' is
|
| 8733 |
chiselled in the shallow recess in the front face of the base. There
|
| 8734 |
are slots on both side faces of the base which perhaps relate to the
|
| 8735 |
original support. So too perhaps does the way that the lower part
|
| 8736 |
of the back face of the base has been roughly chamfered. Since
|
| 8737 |
coming to the Museum it has been mounted on a pedestal composed
|
| 8738 |
ofthrce pieces of dingy brown and pink marble with a smoky pattern
|
| 8739 |
@@PROCESS
|
| 8740 |
188
|
| 8741 |
(probably from Devon or Comwall and certainly British) lettered
|
| 8742 |
in gold with the names and dates of sitter and artist and the name
|
| 8743 |
of the donor.
|
| 8744 |
Given by Martha Combe, widow of the sitter, in 1894-before 13
|
| 8745 |
February when her husband's bequest ( mostly of Pre-Raphaelitc
|
| 8746 |
paintings) was accepted by Decree of Convocation (4»"#¢/ RGPo7?
|
| 8747 |
Of the Curators Of. the Unil7ersity Galleries, \894).1r\ \896 tine
|
| 8748 |
northern end of the Great Gallery was separated off by screens and
|
| 8749 |
the bust set up there with the Pre-Raphaelite paintings. This was
|
| 8750 |
made into a proper room, named the Combe Room, in 1909. The
|
| 8751 |
bust has been in storage in recent dccadcs, but was placed in the
|
| 8752 |
new Combe Gallery in 1988.
|
| 8753 |
Thomas Combe ( 1787-1872), one of the earnest patrons of
|
| 8754 |
the Pre-Raphaelitcs, with whom Woolner was associated, was
|
| 8755 |
Printer to the University from 1838, a keen supporter of the
|
| 8756 |
Hich Church Movcmcnt, and a zealous builder of schools
|
| 8757 |
and churches. The bust was exhibited at the Royal Academy
|
| 8758 |
in 1864 (no.1024, `Mr. Combe, of the Clarendon Press').
|
| 8759 |
The very solid base, lively texturing, and avoidance of polish,
|
| 8760 |
and the acceptance of modern dress, are characteristic of
|
| 8761 |
Woolner's bust portraiture generally.
|
| 8762 |
-`..
|
| 8763 |
'`!. -
|
| 8764 |
- ngh `
|
| 8765 |
Rap \to`'
|
| 8766 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8767 |
Thomas WOOLNER RA ( 1825-92 )
|
| 8768 |
@@PROCESS
|
| 8769 |
597. Bust portrait of william Ewart
|
| 8770 |
Gladstone on a pedestal decorated
|
| 8771 |
with scenes from the JJ¢.¢d
|
| 8772 |
65.6 cms. (height of bust); 26 cms. (length of base of bust);
|
| 8773 |
19.8 cms. (width of base of bust); 143.8 cms. (height of pedestal);
|
| 8774 |
45.5 cms. (length of plinth of pedestal); 41.6cms. (width of plinth
|
| 8775 |
of pedestal)
|
| 8776 |
White Ca.mra marble, brown and grey with ingrained dust. There
|
| 8777 |
is a small dark grey flaw in the marble on the chest. The bust and
|
| 8778 |
its base are made of a single piece of marble and are supported on
|
| 8779 |
a pedestal composed of two pieces of marble (the plinth is separate).
|
| 8780 |
There arc chips missing from the uppermost moulding of the pcdcstal
|
| 8781 |
and at the junction of the two pieces of which the plinth is made.
|
| 8782 |
The surface of the marble has been left grooved with a toothed
|
| 8783 |
chisel (on the cutting of the chest and under the relief on the front
|
| 8784 |
face of the pedestal) and has been less obviously textured with smaller
|
| 8785 |
chisels (for example on the base of the bust and in parts of the reliefs
|
| 8786 |
on the pedestal). On close inspection the marks of the rasp have
|
| 8787 |
seldom been polished off. `WO0LNER. S€ / LONDON. J866' is chisellcd
|
| 8788 |
on the proper right face of the base of the bust under the shoulder
|
| 8789 |
(the second line in capitalized italics). `wlLLIAM EWART GIADSTONE'
|
| 8790 |
is chisellcd within the shallow smooth recess on the front face of the
|
| 8791 |
base.
|
| 8792 |
Transferred, together with the bust of the duke of Marlborough
|
| 8793 |
(No. 566), by the Curators of the Bodleian hibrary in 1926 (14„»#¢/
|
| 8794 |
Rcpo7t ( 1926), 24), from the Picture Gallery of the Bodleian Library
|
| 8795 |
to which it had been presented in 1866 by subscribers (W. D.
|
| 8796 |
Macray,14#„¢/f a/£f7G Bod/G¢.¢„ L!.4r¢ry (Oxford, 1890), 481 ). By
|
| 8797 |
\93L (Summary Gttide to t;he Department Of Fine Art. 47) it stood
|
| 8798 |
in the centre of the Combe Room companion with the bust of
|
| 8799 |
Combe (No. 596). It was in storage in recent decades but was
|
| 8800 |
placed in the new Combe Gallery in 1988.
|
| 8801 |
The portrait bust, which is of similar form to that of Combc,
|
| 8802 |
dated 1863 (596), is dated 1866, but the pedestal may date
|
| 8803 |
from a little later. Although obviously designed for the bust,
|
| 8804 |
the pedestal is not a perfect fit for it. `Reliefs from the Iliad.
|
| 8805 |
Pedestal of the bust of the Rt. Hon. W. E. Gladstonc,
|
| 8806 |
executed for the Bodleian Ganery, Oxford' was cxhibitcd by
|
| 8807 |
Woolncr at the Royal Academy in 1868 (no. 1027) and it
|
| 8808 |
would be surprising if hc had in fact completed it two years
|
| 8809 |
before. The reliefs were no doubt felt to be appropriate given
|
| 8810 |
Gladstone's interest, as translator and scholar, in Homer's
|
| 8811 |
epic. They were the first classical ones which Woolncr had
|
| 8812 |
exhibited at the Royal Academy and coincided with an interest
|
| 8813 |
in such subjects by the Pre-Raphaelitc painters. On the front
|
| 8814 |
face is carved `Achilles shouting from the trenches with Pallas
|
| 8815 |
Athena standing by his side', on the proper left face `Thetis
|
| 8816 |
rising from the water to console Achilles', and, on the proper
|
| 8817 |
right, `Thetis praying to Jupiter on behalf of Achilles'.
|
| 8818 |
Woolner was partial to embehishing pedestals with subsidiary
|
| 8819 |
reliefs (as in his design for a memorial to Wordsworth
|
| 8820 |
exhibited at the Royal Academy in 1852 with a copious
|
| 8821 |
description in the catalogue, and as in 777c Lo#¢'f P7i¢ycr at
|
| 8822 |
Wallingford, Northumberland, of 1856nd7). Woolner had
|
| 8823 |
worked in Oxford during the 1850s carving the relief (of
|
| 8824 |
Adam and Eve and the angel holding a nucleating cell, a work
|
| 8825 |
designed by James Hungerford Pollen ) over the main entrance
|
| 8826 |
of the University Museum, and a statue of Francis Bacon for
|
| 8827 |
the series of great scientists in the interior of the Museum. In
|
| 8828 |
1864 his statue of the prince consort was presented to the
|
| 8829 |
Museum by the citizens of Oxford and he exhibited his bust
|
| 8830 |
of Thomas Combe (No. 596).
|
| 8831 |
A rephica of the bust of Gladstone was completed for the
|
| 8832 |
Guildhall, I.ondon, in October 1882 made out of marble
|
| 8833 |
from the Parian quarries in Greece and reproductions in
|
| 8834 |
bronze by the firm of Elkington arc recorded (A. Woolner,
|
| 8835 |
Thomas Woolner: His Life in Imer§ (.hondon, L9\7), g22,
|
| 8836 |
n. 2; Sothcby's, Bclgravia, 8 Scptcmbcr 1976, lot 18). A note
|
| 8837 |
of 19 June 1969 by Ian I.owe in the Departmcnt's files records
|
| 8838 |
a plaster cast of the bust in the University Press Offices.
|
| 8839 |
@@PROCESS
|
189
|
| 8841 |
|
| 8842 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8843 |
air j!1+
|
| 8844 |
(i
|
| 8845 |
@@PROCESS
|
| 8846 |
190
|
| 8847 |
BRITISH SCULPTURES, BY ARTIST'S NAME
|
| 8848 |
Joseph Shepherd WYON ( 1836-73)
|
| 8849 |
@@PROCESS
|
| 8850 |
598. Medallion profile head of
|
| 8851 |
HRH Alexandra, princess of Wales
|
| 8852 |
22.5 cms. (diameter of marble roundel as visible in its frame);
|
| 8853 |
32.5 cms. (height and width of outside of frame)
|
| 8854 |
White Carrara marble. The relief ground is textured with short
|
| 8855 |
regular hatched strokes crossing at an acute angle. `ALEXANDRA' is
|
| 8856 |
chisellcd in very fine, very widely spaced letters around the upper
|
| 8857 |
half circumference. `|. s. wVoN. SC.' is chisellcd in a diagonal line
|
| 8858 |
across the cutting of the neck. The medallion is set in a square ctlt
|
| 8859 |
wooden frame (almost certainly original) with a simple outer
|
| 8860 |
moulding and the spandrels showing the texture of the oak under
|
| 8861 |
the water-gilding with small round geometrical ornaments in each
|
| 8862 |
corner (t\ro patterns arc used, paired on the diagonal).
|
| 8863 |
Given by Mrs A. W. Fuller of Sheen House, 89 Himner I.one,
|
| 8864 |
Felpham, Sussex, in 1972. Rcdstered on 24 November. In reserve
|
| 8865 |
save for occasional exhibition until 1988 when placed in the newly
|
| 8866 |
refurbished Combc Gallery.
|
| 8867 |
The artist came from the family of medallists, die-cutters, and
|
| 8868 |
wax modellers which dominated the productions of the
|
| 8869 |
I.ondon Mint throughout the last century. He was the cldcst
|
| 8870 |
son of Benjamin Wyon ( 1802-58) who was appointed Chief
|
| 8871 |
Engraver of seals in 1831, the nephew of Thomas Wyon
|
| 8872 |
Junior ( 1792-1817) who was appointed Chief Engraver of
|
| 8873 |
the Royal Mint in 1815, and of Edward Williani Wyon ( 1811-
|
| 8874 |
1885) the sculptor, and he was grandson of Thomas Wyon
|
| 8875 |
( 1767-1830), appointed Chief Engraver of Seals in 1816.
|
| 8876 |
Joseph Shepherd Wyon was himself chiefly known as a
|
| 8877 |
medallist and was appointed Chief Engraver of Her Majcsty's
|
| 8878 |
Seals in 1858. Hc commenced exhibiting at the Royal
|
| 8879 |
Academy in 1855 but the first and only work of his specified
|
| 8880 |
as of marble to be shown there was no. 874 in 1864-
|
| 8881 |
`H.R.H. The Princess ofwales'-presumably to be identified
|
| 8882 |
with this medallion (or another version of it). The relief
|
| 8883 |
lettering and the idiosyncratic tcxturing of the ground reflect
|
| 8884 |
his cxperiencc working in metal.
|
| 8885 |
@@PROCESS
|
191
|
| 8887 |
|
| 8888 |
SCULPTURES OF THE BRITISH SCHOOL
|
Unassociated with a Named Artist, Craftsman, or Supplier
|
| 8890 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 8891 |
@@PROCESS
|
| 8892 |
599. Bust portrait of King
|
| 8893 |
Heny VIII
|
| 8894 |
67.5 cms. (height excluding plinth); 64.5 cms. (length); 17.7cms.
|
| 8895 |
(height of plinth); 30.5 cms, (length of plinth); 30 cms. (width
|
| 8896 |
of plinth)
|
| 8897 |
White (probably Carrara) marble, discolourcd with ingrained dirt
|
| 8898 |
and abraded. Broken in two from the king's left shoulder down to
|
| 8899 |
the other side of his chest and crudely cemented together, with
|
| 8900 |
patches of plaster in fill to proper right of the pendant medal. The
|
| 8901 |
reverse of the bust is only slightly hollowed and is roughly hewn on
|
| 8902 |
the back of both cap and collar. The bust is mounted on a plain
|
| 8903 |
block of limestone unmoulded but with a large chamfer.
|
| 8904 |
Given to Oxford University by the dowager countess of Pomfret in
|
| 8905 |
1755. The collection included a large part of the `Arundel marbles',
|
| 8906 |
bought by her father-in-law Sir William Femor (later I.ord
|
| 8907 |
Lempster) from the sixth duke of Norfolk in 1691, and it is likely,
|
| 8908 |
but not certain, that this was one of them and was therefore acquired
|
| 8909 |
by the earl of Anmdel in the first half of the seventeenth century.
|
| 8910 |
The bust is recorded, perched on a high shelf at the far cnd of the
|
| 8911 |
sculpture gallery in the Old Schools, companion with Dieussart's
|
| 8912 |
bust of Prince Rupert (No. 471 ), in William Westall's watercolour
|
| 8913 |
drawing of 1813 (engraved in the following year for R Ackermann's
|
| 8914 |
A History Of` the University Of O>ifiord). It was cranstened to tine
|
| 8915 |
University Galleries where it is recorded in the H¢#dfoo4 G#¢.de of
|
| 8916 |
1859 in the Crypt or sub-gallery but visible to the public (p. 19,
|
| 8917 |
no. 59). It is not recorded in any guide made in this century and
|
| 8918 |
must have bccn put into store in the l880s or l890s. It was identified
|
| 8919 |
serving as a doorstop in the Museum basements in 1979 by Michael
|
| 8920 |
Vickers and was placed in the Randolph Gallery.
|
| 8921 |
The marble bust is a coarse copy of the somewhat routine
|
| 8922 |
bust of King Henry VIII at Lumley Castle which was already
|
| 8923 |
recorded there in 1590 upon one `front' of the Great Hall,
|
| 8924 |
in company with three others-`four livelie statues all
|
| 8925 |
wrought in white marble in memory of K. Henry the 8, King
|
| 8926 |
Edward 6, Qucne Marie and Q. Elizabeth'. These were the
|
| 8927 |
monarchs in whose reigns John, I.ord Lumley, lived. The four
|
| 8928 |
busts were made for Lumley in Florence in 1566 by an
|
| 8929 |
unknown sculptor employing medallic prototypes. The medal
|
| 8930 |
of Henry VIII would sccm to have been derived from one
|
| 8931 |
of Holbein's portraits. Michael Vickers, having made these
|
| 8932 |
connections, also pointed out the existence of a copy of the
|
| 8933 |
Lumley Castle Q;"cc» E/¢.z¢Gcff7 together with a companion
|
| 8934 |
bust of the earl of Leiccster in a private collection in I.ondon
|
| 8935 |
(both having come from Kimbolton Castle). The bust of I.ord
|
| 8936 |
Leicester (which he also shows to have derived ultimately
|
| 8937 |
from a medallic prototype) is, he supposes, also a copy of
|
| 8938 |
another marble bust which, he suggests, was once among the
|
| 8939 |
set at Lumley Castle. If so it must have been extracted from
|
| 8940 |
there by 1590 when the inventory mcntioncd above was
|
| 8941 |
made. Vickers argues that the copy of the bust of Leicester,
|
| 8942 |
and hence the other copies, including this one of Henry VIII,
|
| 8943 |
must have been made before the `disappcarancc' of the origival
|
| 8944 |
hypothetical bust of Leicester in 1590. There is much that is
|
| 8945 |
conjectural in this, but it is certainly true that `given Arundcl's
|
| 8946 |
interest in the Henrician Court, and in the art of Holbein in
|
| 8947 |
particular . . . it is cary to see why he should have owned the
|
| 8948 |
bust now in Oxford', although it should be added that it
|
| 8949 |
would be surprising if so great a connoisseur did not regret
|
| 8950 |
that this work was of such dismal quality. (M. Vickers, `The
|
| 8951 |
Changivg Face of Henry VIII', Co#„#)i LGrc (24 April 1980),
|
| 8952 |
1248-9; id., `The Medal of Robert Dudley, Earl of I.cicestcr
|
| 8953 |
in the Bibliotheque Nationale', N#owG.fee¢fS.c C47it7»G.c/G, 141
|
| 8954 |
(1981),117-19.)
|
| 8955 |
@@PROCESS
|
195
|
| 8957 |
|
| 8958 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 8959 |
@@PROCESS
|
| 8960 |
600. Court cupboard with a lion
|
| 8961 |
and unicorn sejant, a pair of atlantes,
|
| 8962 |
and a pair of griffins as supporters
|
| 8963 |
@@PROCESS
|
| 8964 |
127 cms. (height); 128.8 cms. (length); 47.5 cms. (width);
|
| 8965 |
38.8 cms. (height of lion); 38.9 cms. (height of unicorn);
|
| 8966 |
43.5 cms. (height of griffins)
|
| 8967 |
Chiefly of oak and walnut. The carcass is of oak. Each supporter is
|
| 8968 |
made from a separate block of walnut. There is a geometric veneer
|
| 8969 |
of holly and sycamore with mahogany and burr walnut in the
|
| 8970 |
uppermost ffieze (part of which is also a drawer front). There is
|
| 8971 |
also inlay of holly and sycamore and bog oak in the ccntra.I and lower
|
| 8972 |
boards. The eyes of the animals are inlaid with bog oak (or an
|
| 8973 |
imitation of it). The carvings are in places encrusted with darkened
|
| 8974 |
deposits of polish. The shield and crown held by the lion are
|
| 8975 |
chipped, partly because of worm damage. The proper left griffin's
|
| 8976 |
left wing is missing and its other wing has split but been reattached.
|
| 8977 |
The tat of the same griffin is loose. `1606' is carved in large letters
|
| 8978 |
on the back of the uppermost ffieze. The upper board is a restoration
|
| 8979 |
as are the back and the base with the bun fcct and there is evidence
|
| 8980 |
of other repairs and perhaps of reconstruction (see below). A bluc-bordercd
|
| 8981 |
paper label, on the top of the back of the principal upright
|
| 8982 |
member, proper left, of the cupboard, is inscribed `w. E. MALLETr'
|
| 8983 |
in black ink.
|
| 8984 |
Given, together with fiftccn other pieces of furniture and some
|
| 8985 |
pieces of tapestry and needlework, by Miss Elizabeth Mallett in
|
| 8986 |
1961 in memory of her parents Margaret (who died on 15 May
|
| 8987 |
1959) and J. Francis Mallett (who died on 7 January 1947)-the
|
| 8988 |
latter was a notable benefactor of the Museum. Redstered on 21
|
| 8989 |
September. Previously in the collection of J. F. Mallett who had,
|
| 8990 |
presumably, inherited it from his father-in-law and uncle William
|
| 8991 |
Mallett-the W. E. Mallett of the label-n antique dealer in the
|
| 8992 |
Octagon, Bath. According to the museum's ReSster it came in 1903
|
| 8993 |
from Boume Place, now Compton Place, Bexley, Sussex.
|
| 8994 |
The `court cupboard' was the term employed in Elizabethan
|
| 8995 |
and Jacobean inventories for an open three-tiered `buffct' or
|
| 8996 |
`dresser'. `Court' came from the French for short, and
|
| 8997 |
`cupboard' meant a shelf for cups. They were used to display
|
| 8998 |
plate and also for serving. The shelves were covered with
|
| 8999 |
carpet or some rich textile; the drawers contained knives and
|
| 9000 |
spoons. There is an exceuent discussion of the type in Ralph
|
| 9001 |
Edwalds' s Dictionary Of English Fttrmitwre, 3 vo\s. (London,
|
| 9002 |
1954), ii. 177-83. Most examples have decorated bulbous
|
| 9003 |
supports but supporters in the form of heraldic or
|
| 9004 |
mythologival beasts are not unusual. Few, however, are as
|
| 9005 |
vigorously charactcrizcd as those on the Ashmolcan's
|
| 9006 |
`cupboard' which was singlcd out as of exceptional quality in
|
| 9007 |
Edwards's book (where it is fig.Ill on p.183) and was also
|
| 9008 |
included in the Royal Academy's exhibition of British Art in
|
| 9009 |
1934 (no.1267, illustrated as pl. 31 in the catalogue). The
|
| 9010 |
shields with the English rose and Scottish thistle place it after
|
| 9011 |
the accession of King James I in 1603. It is also said to be
|
| 9012 |
dated, although the first diSt of the `1606' must be an
|
| 9013 |
addition and the `606' may have been an inventory number.
|
| 9014 |
The Ashmolean's `cupboard' has also certainly been
|
| 9015 |
restored and it cannot be assumed that it docs not incorporate
|
| 9016 |
items from at least one other source. The atlantes which serve
|
| 9017 |
@@PROCESS
|
| 9018 |
196
|
| 9019 |
as supporters behind the lion and unicoriLcannot have been
|
| 9020 |
oriSnally intended to overlap the ornamental edge of the
|
| 9021 |
board upon which they rest. Neither the lion, nor the unicorn,
|
| 9022 |
nor either griffin, make satisfactory contact with the frieze
|
| 9023 |
above their heads: the lion's head has been made up at the top
|
| 9024 |
with wax (or some similar substance), and the unicorn's head
|
| 9025 |
appears to have been slightly cut down.
|
| 9026 |
Among other similar `cupboards' that in the Victoria and
|
| 9027 |
Albert Museuni is particularly close (but has a cherub in place
|
| 9028 |
of the hon mask in the centre of the central frieze and cherubs
|
| 9029 |
in place of the male and female masks in the upper friczc
|
| 9030 |
corner, also marble inlay in the upper frieze and caryatids in
|
| 9031 |
place of atlantcs). The lion, unicorn, and griffins, however,
|
| 9032 |
in that example have a sharpness in their carving which those
|
| 9033 |
in the Ashmolean's cupboard lack. A similar `cupboard' in
|
| 9034 |
the Burrell Collection ( 14/432) fomcrly in Brandeston Hall
|
| 9035 |
has fine lion supporters which, it is interesting to note, do
|
| 9036 |
not fit any more neatly than those here.
|
| 9037 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9038 |
@@PROCESS
|
197
|
| 9040 |
|
| 9041 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9042 |
@@PROCESS
|
| 9043 |
601. Four Ionic pilasters decorated
|
| 9044 |
with caryatids attached to a pier
|
| 9045 |
62 cms. (height of each); 86.5 cms. (height of table to which they
|
| 9046 |
are attached)
|
| 9047 |
Oak.
|
| 9048 |
Provenance unknown.
|
| 9049 |
The four pilasters are attached to the central octagonal pier
|
| 9050 |
support of an octagonal oak table with one disguised drawer
|
| 9051 |
in the gadrooned frieze. The table serves to support a case
|
| 9052 |
displaying some of Fortnum's collection of rings. It was
|
| 9053 |
assembled in the Museum's workshop for this purpose. Such
|
| 9054 |
pilaster carvings could easily have been detached from
|
| 9055 |
damaged or cumbersome items of furniture but they survive
|
| 9056 |
in suspicious quantities. These examples look like ninetccnth-century
|
| 9057 |
imitations of Elizabethan or Jacobean carving, but
|
| 9058 |
might be genuine. Fortnum owned a couple of pilasters of
|
| 9059 |
similar character (but male and female whereas these are
|
| 9060 |
sexless) which he acquired from Pugiv. Hc had them `picked
|
| 9061 |
out with Slding and mounted as pilasters to support a cornice
|
| 9062 |
and form a frame to a looking glass' (prelininary catalogue
|
| 9063 |
(1857), 70, nos. 8 and 9, and visible in photographs of his
|
| 9064 |
house).
|
| 9065 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9066 |
@@PROCESS
|
| 9067 |
602. Centre table with scrolled legs
|
| 9068 |
terminating in female heads
|
| 9069 |
supporting cushions
|
| 9070 |
73.5 cms. (height of table); 9 cms. (height of each head); 97 cms.
|
| 9071 |
(length of table top); 61 cms. (width of table top)
|
| 9072 |
Walnut. The legs and feet only are of solid walnut. The top, sides,
|
| 9073 |
and stretchers are of walnut veneered on a carcass of pine. The
|
| 9074 |
seaweed marquetry of the table top and sides is of walnut on a
|
| 9075 |
ground of sycamore. The moulded edge of the table top is veneered
|
| 9076 |
in cross-grain walnut. A piece of walnut has been added to each of
|
| 9077 |
the four heads at the top of the legs (the join can be seen in the
|
| 9078 |
proper left cheeks). The tasselled cushions arc carved out of separate
|
| 9079 |
blocks of walnut. Much of the wood is bleached; there are also
|
| 9080 |
cracks, stains, and scratches and some of the veneer has lifted. The
|
| 9081 |
drawer has been repaired. A circular paper label with a fringed
|
| 9082 |
border with the number 1113 in ink on it is stuck on the underside
|
| 9083 |
of the table top.
|
| 9084 |
Given to the Museum in 1958 (registered 18 June) from the
|
| 9085 |
collection of J. Francis Mallett and as part of his bequest which
|
| 9086 |
came to the Museum in May 1947-in advance of the gift of further
|
| 9087 |
items of furniture made by Miss Ehizabeth Mallett in 1961 in
|
| 9088 |
memory of her parents.
|
| 9089 |
The marquetry is of a pattern popular in British finniture
|
| 9090 |
around 1700, but the beauty of the heads with the ropes of
|
| 9091 |
pearls in their hair is remarkable. There is an echo here of the
|
| 9092 |
silver furniture of the period such as the silver table with
|
| 9093 |
harpy legs made for King Charles 11 and now at Windsor
|
| 9094 |
Castle. Similar but larger female heads were popular in
|
| 9095 |
furniture made in about 1730 such as the term piers in the
|
| 9096 |
Queen's Guard Chamber at Hampton Court. A side table in
|
| 9097 |
the Fitzwillian Museum, Cambridge (M4-196l ) which has
|
| 9098 |
both scrolled legs and heads of an antique character may be
|
| 9099 |
regarded as a rich and bold descendant of this one.
|
| 9100 |
IncludedinMissMallett'sgiftof1961wasalowboycabinet
|
| 9101 |
of seaweed marquetry of the same period and a chest of
|
| 9102 |
drawers of floral marquetry of great richness on corkscrew
|
| 9103 |
legs (see Appendix 2 to this volunc).
|
| 9104 |
@@PROCESS
|
199
|
| 9106 |
|
| 9107 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9108 |
@@PROCESS
|
| 9109 |
603. Relief bust portrait ofa Knight
|
| 9110 |
of the Garter
|
| 9111 |
54 cms. (height); 48.4 cms. (width)
|
| 9112 |
White Carrara marble, somewhat discoloured from ingrained dirt.
|
| 9113 |
The rim has been chipped below the chest.
|
| 9114 |
Provenance unrecorded.
|
| 9115 |
The chain worn over the ermine is that of a Knight of the
|
| 9116 |
Garter. The sitter is hkely to bc one of the great Whig
|
| 9117 |
magnates of the early eighteenth century but at no other
|
| 9118 |
period in modern British history have artists made men look
|
| 9119 |
so alike. It is not, in fact, impossible that King Gcorgc I is
|
| 9120 |
intended, for he was painted by Hudson in this style (with
|
| 9121 |
long loose wig forward over one shoulder, lace jabot, garter
|
| 9122 |
couar over ermine) and hc had a similar jowl and broad nose.
|
| 9123 |
The mouth however is larger in paindngs and prints of that
|
| 9124 |
monarch. The carving looks like a copy by an artist of limited
|
| 9125 |
ability made from a sculptural prototype or, more probably,
|
| 9126 |
from a two-dimensional portrait. The management of the
|
| 9127 |
emine collar suggests uncertainty as to the actual nature of
|
| 9128 |
the garment represented and the truncation of the bust is
|
| 9129 |
unhappily managed.
|
| 9130 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9131 |
@@PROCESS
|
| 9132 |
604 and 605. Pair of ewers
|
| 9133 |
ornamented with garlands, scrolls,
|
| 9134 |
masks, and fish
|
| 9135 |
34.4 cms. (height); 10.4 cms. (diameter of feet)
|
| 9136 |
The vases are composed of pieces of C¢¢.//o#Jc d'Eg¢.#o, a rare jasper
|
| 9137 |
of the colour of coffee into which cream has been partially stirred,
|
| 9138 |
figured in the paler bands with miniature branched black lines.
|
| 9139 |
(For samples of this stone see the display in the Museo dell'Opificio
|
| 9140 |
delle Pictre Dure in Florence, Row G, 421nd, also A. 97 in the
|
| 9141 |
appendix of A. M. Giusti, P. Mazzoni, A.-P. Pampaloni Martclli, JJ
|
| 9142 |
Mu§eo dell'Opificio delle Pietre Dare (`FLorence. \978), afuc[ p. 364.)
|
| 9143 |
The jasper is mounted in ormolu (fire-Slt copper, rather than
|
| 9144 |
bronze). The cagework around the body of each vase conceals the
|
| 9145 |
different pieces of jasper employed. These `cages' are each cast in
|
| 9146 |
two separate pieces. The cartouches containing masks of Pan (or at
|
| 9147 |
least a satyr) and masks of a nymph, also the dolphin-like fish, the
|
| 9148 |
ribbons, and the scrolls which are linked with them around the upper
|
| 9149 |
shoulder of each vase form one piece: the crossing garlands and the
|
| 9150 |
divisions of the gadrooned swellings in the lower part of each vase
|
| 9151 |
form another. The junctions between these pieces are no longer
|
| 9152 |
perfect. The thinner elements of ormolu have probably been
|
| 9153 |
embossed before being chiselled. The outer rim of each foot with
|
| 9154 |
miniature machined cable and guilloche ornament is a Later addition.
|
| 9155 |
`M. ¥' and `M. ¥' are painted in black on the ctlt copper plates
|
| 9156 |
beneath the feet.
|
| 9157 |
Bequeathed by J. Francis Mallett who died 7 January 1947. Received
|
| 9158 |
in the Museum during the last week in May 1947. No.182 in the
|
| 9159 |
inventory of his bequest. Valued by Mallctt at £303. Acquired by
|
| 9160 |
him at the sale of the Folcy Heirlooms, Ruxley I.odge, 1919. In
|
| 9161 |
one of the ewers I found in 1986 a piece of crumpled paper with
|
| 9162 |
`HEIRLooM 1869' printed in Gothic letters in a circle. This date
|
| 9163 |
was crossed through and 1887 written in brown ink above it. This
|
| 9164 |
in turn was also crossed through and `Baron Foley Ruxley h)dge,
|
| 9165 |
sold 1919' written above it in blue ink. The ewers had therefore
|
| 9166 |
belonged to the Foley family before 1869. The ewers were displayed
|
| 9167 |
in the 1950s but had long been in store when they were put on
|
| 9168 |
exhibition in the Wcldon Gallery in 1985.
|
| 9169 |
The basic shape of these ewers-the bold scroll of the handle
|
| 9170 |
and its fantastic oriSn in a realistic hen's foot clutching a
|
| 9171 |
shell, also the gadrooning of the body-is reminiscent of
|
| 9172 |
ornamental plate of the seventeenth century, but the garlands
|
| 9173 |
and, stu more, the asymmetrical scrolls of the cartouches and
|
| 9174 |
the rock-work fringe to the mask of a river god below the
|
| 9175 |
lips, which are all tooled with such finesse, indicate a date in
|
| 9176 |
the eightccnth century. Mallctt described the ewers as English
|
| 9177 |
and of c.1740, presumably by analogy with work in silver:
|
| 9178 |
similar Pan and nymph masks, cartouches, and fish are found,
|
| 9179 |
for instance, in the four candlesticks made by John Jacob in
|
| 9180 |
the early 1740s (Ashmolcan Museum, Farrer Collection 114
|
| 9181 |
(i)-(iv) ) and the somewhat flat garlands are common in
|
| 9182 |
tableware made by Paul de I.ancrie and others in this period.
|
| 9183 |
All these motifs, howcvcr, arc of continental origiv. Cagework
|
| 9184 |
was popular in the middle decades of the cightcenth century,
|
| 9185 |
especially for gold boxes often in conjunction with a rare
|
| 9186 |
jasper, or with agate, but on a much smaller scale. Some of
|
| 9187 |
these boxes were made in I.ondon which again supports the
|
| 9188 |
idea that these ewers might be English.
|
| 9189 |
@@PROCESS
|
| 9190 |
201
|
| 9191 |
@@PROCESS
|
200
|
| 9193 |
|
| 9194 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9195 |
@@PROCESS
|
| 9196 |
202
|
| 9197 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9198 |
@@PROCESS
|
| 9199 |
606. Bust portrait of a man
|
| 9200 |
59,.15 cms. (height)
|
| 9201 |
Limestone thickly coated with shellac and paint perhaps intended to
|
| 9202 |
resemble bronze. The crust of these coverings has flaked off on the
|
| 9203 |
lips, the end of the nose, the top of the forehead, and on some
|
| 9204 |
salient curls of the wig. A portion of the stone has broken away to
|
| 9205 |
proper right and only a part of this has been refixed. The stone has
|
| 9206 |
only been slightly hollowed behind.
|
| 9207 |
Provenance unrecordcd.
|
| 9208 |
The stone would appear to be deteriorating and the coatings
|
| 9209 |
may have been intended to arrest its crunbhng: they certainly
|
| 9210 |
eliminate the little surface intcrcst that the bust is likely to
|
| 9211 |
have posscsscd. The bands and gown suggest a portrait of
|
| 9212 |
an academic and the bust may well have come from a local
|
| 9213 |
church-perhaps from a dilapidated monument. It is similar
|
| 9214 |
to the busts on many carly eighteenth-century monuments in
|
| 9215 |
Oxford.
|
| 9216 |
@@PROCESS
|
| 9217 |
607. High-relief bust portrait of
|
| 9218 |
rig James 11
|
| 9219 |
15.2 cms. (height of bust); 20.6 cms. (height of visible relief);
|
| 9220 |
18 cms. (width of visible relief); 28 cms. (height of shadow box);
|
| 9221 |
24.5 cms. (width of shadow box); 25.5 cms. (height of class
|
| 9222 |
support); 21.8 cms. (width of glass support)
|
| 9223 |
The bust is of coloured wax, slightly hollow. It has come loose from
|
| 9224 |
its glass support (but has been photographed in place). The support
|
| 9225 |
is painted with thin coloured wax and also built up in low relief.
|
| 9226 |
There is a dent and crack to the end of the nose which has also lost
|
| 9227 |
its colour. A portion of one of the low-relief curtain ropes has been
|
| 9228 |
lost. The thin wax of the sky has crinkled perhaps from heat. The
|
| 9229 |
support is set within a deep tray frame of pine stained black. This is
|
| 9230 |
probably original, and is enclosed in a shadow box (not
|
| 9231 |
photographed) of the same date, also of pine stained black, with
|
| 9232 |
glossy black paint around an oval aperture. `RING JAMES 11' has been
|
| 9233 |
written at a later date in gold letters on the lower part of the glass.
|
| 9234 |
On the backboard there is an old deteriorating paper label inscribed
|
| 9235 |
`3474.1887' in ink. The number is repeated in pencil with a note
|
| 9236 |
also in pencil in the hand of C. F. Bell (see below).
|
| 9237 |
Presumably transferred to the University Galleries in 1887 ( see
|
| 9238 |
above) perhaps from the Bodleian Library or the old Ashmolean
|
| 9239 |
Museum.
|
| 9240 |
The note by C. F. Bell on the backboard is that `At Sudeley
|
| 9241 |
Castle, Gloucestershire there are a number of wax portraits
|
| 9242 |
precisely similar in style to the present. The fact that some of
|
| 9243 |
these represent personages of the late XVIII century period
|
| 9244 |
shows that this work also is of that date.' The portrait may
|
| 9245 |
also be compared with those of Mary and Agncs Berry in the
|
| 9246 |
Victoria and Albert Museum attributed to Samuel Percy who
|
| 9247 |
died in 1820 (A. 13 and A. 14-1970). The wax may well bc
|
| 9248 |
carlicr in date: these comparisons may only indicate the
|
| 9249 |
durability of conventions and techniques, but the franc and
|
| 9250 |
shadow box look original and arc typical of the late eighteenth
|
| 9251 |
century: in particular the dosry black paint on the glass was
|
| 9252 |
popular at that date especially for framing prints.
|
| 9253 |
@@PROCESS
|
203
|
| 9255 |
|
| 9256 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9257 |
@@PROCESS
|
| 9258 |
204
|
| 9259 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9260 |
@@PROCESS
|
| 9261 |
608. Urn with vine tendril handles
|
| 9262 |
34.3 cms. (height); 19.2 cms. (width, across handles); 17.2 cms.
|
| 9263 |
(height of handles); I.85 cms. (diameter of plinth)
|
| 9264 |
The urn is composed of three pieces of Derbyshire fluorspar (blue-john)
|
| 9265 |
each of which, to judge by the weight, is solid. The pieces,
|
| 9266 |
which arc securely fixed, consist of the concave tapering lid; a disc
|
| 9267 |
immediately below it, separated by a thin collar of moulding; and the
|
| 9268 |
main body of the urn. The base, handles, finial, and other ornaments
|
| 9269 |
are all of bronze, fire-gilded. The base consists of three separately
|
| 9270 |
worked elements: plinth, foot, and acanthus. Each handle is of a
|
| 9271 |
single piece.
|
| 9272 |
Bequeathed by Major T. Bouch, 1963. Received by the Museum
|
| 9273 |
on 20 November 1963. For more on the bequest see Nos. 451,
|
| 9274 |
@@PROCESS
|
| 9275 |
452, 469. Lent to the City Art Museum, Derby, on 27 May 1981.
|
| 9276 |
The workmanship and design of this urn are of superlative
|
| 9277 |
quality: the minute punched texturing of the bay, acanthus,
|
| 9278 |
and vine leaves is as fine as their modelling is crisp. In style it
|
| 9279 |
resembles the best work known to have been produced at the
|
| 9280 |
Soho factory near Birmingham in the early 1770s. This factory,
|
| 9281 |
cstablishcd in 1762 by Matthew Boulton in partnership with
|
| 9282 |
John Fothergill, made many varieties of hardware but began
|
| 9283 |
in 1768 to specialize in ormolu. In that same year Boulton
|
| 9284 |
began looking for attractive vase bodies. He toyed with the
|
| 9285 |
idea of porcelain oncs, but in 1768 he was actively acquiring
|
| 9286 |
blue-john and in the following spring he acquired 14 tons of
|
| 9287 |
it. The stone was at first worked at Soho but was later supplied
|
| 9288 |
in the form required by local Derbyshire craftsmen (N.
|
| 9289 |
Goodison. Ormoltt: The Work Of Matthew? Bot4lton (-hondon,
|
| 9290 |
1974), 25, 27, 29-30, 75nd). An idea of the factory's goods
|
| 9291 |
in `radix amethysti' (as the stone was pretentiously marketed)
|
| 9292 |
and `or moulu' during the first years of production may be
|
| 9293 |
obtained from the large sale held 11-13 April 1771 at
|
| 9294 |
Christic's. It is clear from another large sale held at Christie's
|
| 9295 |
in May 1778 that the basic range of products had not changed
|
| 9296 |
(ibid., Appendix IV, pp. 242nd8). Production diminished
|
| 9297 |
thereafter and ceased in the 1780s. Most of their vases were
|
| 9298 |
`candle vases', that is fitted with branches for candles, or were
|
| 9299 |
`essencc pots' (perfume burners) or `sugar dishcs'. No vase
|
| 9300 |
made by them has exactly the form of handle or finial or shape
|
| 9301 |
of plinth found in the Ashmolean's exanplc. The fact that
|
| 9302 |
the material is English suggests that the vase was made in
|
| 9303 |
England by one of Boulton's rivals or successors. It is not
|
| 9304 |
impossible that it was made in France, but it should be pointed
|
| 9305 |
out that there is no evidence to support the claim that the
|
| 9306 |
French were the first to exploit bluciohn extensively for high-quality
|
| 9307 |
omanental work and very httle evidence that they used
|
| 9308 |
the material at all. Had they been employing it in the 1760s
|
| 9309 |
Boulton would surely have mentioned the fact. The only
|
| 9310 |
reference known to me to what must be blue-john in a French
|
| 9311 |
collection is the `coupe avcc son pied de spath fluor
|
| 9312 |
d'Angleterre, rubann€e blanc, rouge et violet; unc autrc idem,
|
| 9313 |
forme de gobclct a pied, avec une arse et bordurc cn or, la
|
| 9314 |
cuillere de memc, un petit seau aussi dc spath fluor violet ct
|
| 9315 |
blanc avec son ansc et cuillere cn argcnt' recorded in the
|
| 9316 |
collection of Queen Marie-Antoinettc in 1789 (A. Tuetey,
|
| 9317 |
`Invcntairc des laques anciennes ct des objets de curiosit€ de
|
| 9318 |
Ma]ie-An:toin€tte' , Nowelles Archives de l'art fhan§ais
|
| 9319 |
( 1916), 286-319). But Maric-Antoinette was an avid
|
| 9320 |
collector of rarities and these might have been sent from
|
| 9321 |
England. The claim is made by Francis Watson in his
|
| 9322 |
catalogue of the furniture in the Wanacc Collection of 1956
|
| 9323 |
that a pair of vases and a ewer (F345, 346, 347), and a pair
|
| 9324 |
of candelabra (F158 and 159) are examples of blue-john
|
| 9325 |
mounted in eighteenth-century France. The candelabra are
|
| 9326 |
not of blue-john (and may also be English and indeed
|
| 9327 |
ninetccnth century). The ewer (F345) is a pastiche,
|
| 9328 |
combining in an unconvincing manner an carly eighteenth-century
|
| 9329 |
shape with late eighteenth-century French ornaments
|
| 9330 |
in a manner typical of the ninctcenth-century English makers
|
| 9331 |
and docs not really belong with the vases. The vases (F346
|
| 9332 |
and 347) have extensively restored bodies, including portions
|
| 9333 |
of painted plaster, and the mounts may well bc additions or
|
| 9334 |
restorations of the same period-in any case there is no proof
|
| 9335 |
that they arc French. More significant is a blue-john urn
|
| 9336 |
band-clock with a French movcmcnt in the Fitzwilliam
|
| 9337 |
Museum, Cambridge ( 10-1948).>+\, ij'firiffriELi:`fy
|
| 9338 |
@@PROCESS
|
205
|
| 9340 |
|
| 9341 |
BRITISH SCULPTURES, BY ARTISTS NAME
|
| 9342 |
@@PROCESS
|
| 9343 |
609. Urn with handles a la grecque
|
| 9344 |
32.5 cms. (height); 20.5 cms. (width, across handles); 10.8 cms.
|
| 9345 |
(length and width of plinth)
|
The urn is composed of two pieces of Derbyshire fluorspar (blue-john)-
|
| 9347 |
the body and the lid with its concave neck-ach of which,
|
| 9348 |
to judge by the weight, is solid. They are securely fixed, the join
|
| 9349 |
reinforced by the handles which are, together with the base and finial,
|
| 9350 |
of bronze, fire-gilded. The plinth of the base is separately worked.
|
| 9351 |
A large F and `N 4/ 0 / i 3 pieces' is written in ink on a piece of
|
| 9352 |
wood jammed inside the phnth.
|
| 9353 |
Bequeathed by Major T. Bouch, 1963. Received by the Museum
|
| 9354 |
on 20 November 1963. For more on the bequest see Nos. 451,
|
| 9355 |
@@PROCESS
|
| 9356 |
452, 469, 608. Lent to the City Art Museum, Derby, on 27 May
|
| 9357 |
1981.
|
| 9358 |
The workmanship and design of this urn are of very high
|
| 9359 |
quality. In style it is comparable with the work known to
|
| 9360 |
@@PROCESS
|
| 9361 |
206
|
| 9362 |
have been produced at Boulton's Soho factory in the early
|
| 9363 |
1770s (for which scc No. 608). The relatively large size of
|
| 9364 |
the handles, slender foot, and sharp water-leaf ornament of
|
| 9365 |
the foot is reminiscent of some of the designs favoured by
|
| 9366 |
Boulton and the angular style of handle is found on a type of
|
| 9367 |
branched candle vase made at Soho. The details, however,
|
| 9368 |
cannot be exactly matched in any documented work by
|
| 9369 |
Boulton's factory. It was probably, like No. 608, made by a
|
| 9370 |
rival English firm. It is not impossible that the urn was made
|
| 9371 |
in France: certainly the blue-john urn band-clock with a
|
| 9372 |
French movement in the Fitzwilliam Museum, Cambridge
|
| 9373 |
( 10-1948 ) has very similar handles.
|
| 9374 |
The fluorspar employed for this urn is of a very unusual
|
| 9375 |
character: consistent alike in colour and texture, resembling
|
| 9376 |
a yellow melon, but with one band (about 6 cms. in width)
|
| 9377 |
of deep mauve passing down one side of the body. The band
|
| 9378 |
is also featured on the lid, where it is not quite aligned, which
|
| 9379 |
shows that this was cut from the same lump of fluorspar.
|
| 9380 |
BRITISH SCULPTURES, BY ARTISTS NAME
|
| 9381 |
@@PROCESS
|
| 9382 |
610 and 611. A pair of vase
|
| 9383 |
candlesticks on tripod supports
|
| 9384 |
(only one traced)
|
| 9385 |
19.3 cms. (height); 10.1 cms. (diameter of plinth)
|
| 9386 |
Each leg of the tripod is cast in bronze with a dark brown patina.
|
| 9387 |
The `egg' supported and the plinth and part of the lid are of white
|
| 9388 |
Carrara marble. The egg is partially hollowed. The other elements
|
| 9389 |
are all of fire-allt bronze or copper, some of it machined. The
|
| 9390 |
marble part of the lid has been shattered but only chips are missing.
|
| 9391 |
The cover reverses to form a nozzle. `B.-39.e' is painted in black
|
| 9392 |
around the rim of the marble `egg' concealed by the lid. `FORTNUM
|
| 9393 |
8' is faintly scratched on the upper surface of the plinth.
|
| 9394 |
Bequeathed by Charles Drury Fortnum in 1899 as a pair (mos. 8.
|
| 9395 |
1038 and 1039 in his large manuscript catalogue). Noted by him
|
| 9396 |
as a gift from Mrs F. W. Hope. The loss of the companion candlestick
|
| 9397 |
(611 ) was not recorded before work commenced on this catalogue
|
| 9398 |
(in 1986).
|
| 9399 |
Fortnum owned a similar pair of candlesticks (nos. 1040 and
|
| 9400 |
1041 in his large manuscript catalogue) which were not
|
| 9401 |
included in his bequest. An exceptional miniature pair of
|
| 9402 |
ceramic candlesticks of similar character were included in the
|
| 9403 |
bequest to the Ashmolcan Museum of J. Francis Mallett
|
| 9404 |
(Nos. 266, 267).
|
| 9405 |
The type and size of candlestick arc not uncommon, but
|
| 9406 |
there are numerous variations. The `cggs' can be of dark
|
| 9407 |
patinated bronze with ormolu leaves (Christie's, I.ondon, 6
|
| 9408 |
November 1986, lot 63, or Christie's, New York, 25 October
|
| 9409 |
1986, lot 30). The central support below the `egg' can have
|
| 9410 |
a snake twisted around it (Christie's, Orchardleich Park,
|
| 9411 |
Somerset, 21-2 September 1987, lot 406). The chains here
|
| 9412 |
suspended from the goats' heads in the frieze on top of the
|
| 9413 |
`egg' sometimes take the form of beads-and hang either
|
| 9414 |
from simple studs or from the goats' heads on top of the legs
|
| 9415 |
or from both. Also, the mouldings are often varied as are the
|
| 9416 |
areas of patinated or art bronze. In some models on the
|
| 9417 |
continent (for instance the pair in the Six Huis iinsterdam)
|
| 9418 |
the cap is topped with Slt bronze roses forming nozzles.
|
| 9419 |
The popularity of this type of candlestick in England is
|
| 9420 |
sufficient to justify the assumption that they were made
|
| 9421 |
here-an assumption found in auction catalogues where they
|
| 9422 |
are generally described as `Gcorge 111'. They may well have
|
| 9423 |
been imitated later in the nineteenth century. They reflect a
|
| 9424 |
fashion for slender tripods, miniature animal heads, spiral
|
| 9425 |
snakes, dchicate branches, and pendant chains and beads
|
| 9426 |
created by the leading French bronziers such as Gouthiere
|
| 9427 |
and Pierre-Phhippe Thomire in the 1780s and associated with
|
| 9428 |
`le gout etrusque'. These fragle open forms of the metalwork
|
| 9429 |
and the minimal support they provided were often dramatized
|
| 9430 |
by a cup or `cgg' of marble or of a semi-precious stone (or
|
| 9431 |
of a ceramic imitation of one or the other). Splendid and
|
| 9432 |
elaborate exanplcs, which may be considered as distant royal
|
| 9433 |
relatives of the Ashmolcan's candlesticks, arc the tripod
|
| 9434 |
candelabra with a lapis `egg' in the Wallace Collection (F
|
| 9435 |
@@PROCESS
|
| 9436 |
132 ) or the vase with tripod stand in the J. Paul Getty Museum
|
| 9437 |
(70.DE. I 15), both illustrated, with related pieces, in H.
|
| 9438 |
Ottomeycr and P. Pr6schel (eds. ), Vc#g7o/defg Bro"2;c„, 2 vols.
|
| 9439 |
(Munich, 1986), i. 264 and 268.
|
EEEE-
|
2/fJr/
|
| 9442 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9443 |
@@PROCESS
|
| 9444 |
612 and 613. Pair of hall tables with
|
| 9445 |
lotus leaf supports (only one
|
| 9446 |
illustrated)
|
| 9447 |
82.5 cms. (height); 112 cms. (length); 75 cms. (width)
|
| 9448 |
The supporting members are of solid carved walnut. The plinths are
|
| 9449 |
of richly figured rosewood veneered on to a carcass of pine. The
|
| 9450 |
upper surface of the plinth is veneered with two figured pieces in a
|
| 9451 |
symmetrical book-matched pattern. The edges of the table tops are
|
| 9452 |
of wood, probably pine, gilded and carry applied composition
|
| 9453 |
omanents, also gilt. The edging of the slabs of porphyry is of
|
| 9454 |
ormolu.
|
| 9455 |
Bought at the Stowe sale, 1920. The tables stood in the state drawing
|
| 9456 |
room at Stowe,
|
| 9457 |
The tables are likely to date from about 181040 when both
|
| 9458 |
composition ornament and rosewood veneer were particularly
|
| 9459 |
popular and the severe sculptural ideals represented by
|
| 9460 |
furniture such as that of Thomas Hope (see Nos. 522-3)
|
| 9461 |
were replaced with a gross opulence, well represented by the
|
| 9462 |
heavy outline of the curves of these supports, the fat rolls of
|
| 9463 |
@@PROCESS
|
| 9464 |
208
|
| 9465 |
the framing mouldings, and the overlapping fleshy lotus leaves
|
| 9466 |
within them. The `marblc' slabs have been described as
|
| 9467 |
imperial porphyry, but if so are of an oddly irregular grain
|
| 9468 |
and brown colour: they are in fact more hkcly to be one of
|
| 9469 |
the native British stones promoted by George Bullock of
|
| 9470 |
Liverpool, sculptor, cabinet maker, and entrepreneur ( see
|
| 9471 |
Nos. 453, 454), who exploited the Mona Marble quarries on
|
| 9472 |
Anglesey which supplied types of stone said to emulate
|
| 9473 |
oriental (that is ancient Egyptian `imperial') porphyry and
|
| 9474 |
77crde ¢7¢£¢.co. Bullock moved to Ijondon in 1813 where the
|
| 9475 |
Mona Marble works opened its showrooms in 1814 but wen
|
| 9476 |
bcforc this date he had been supplying wood and ormolu
|
| 9477 |
furniture, marble chimney-pieces, and artificial stone lamps to
|
| 9478 |
customers all over Britain. His Anglesey marble is first
|
| 9479 |
mentioned in 1806 (C. Wainwright (ed. ), GcoffgG B#//ocfe,
|
| 9480 |
C¢4¢.#cf 44l¢4Gy (I.ondon, 1988), 21-2). Whilst it is possible
|
| 9481 |
that these tables were made in his workshops there are no
|
| 9482 |
precise analodes with any furniture documcnted as designed
|
| 9483 |
by him. The tables were fitted with brass-framed glass cases
|
| 9484 |
made by the firm of Frederick Sage and Company under the
|
| 9485 |
Kccpership of C. F. Bell and have retained these ever since.
|
| 9486 |
They have, it seems, always been used to display bronzes
|
| 9487 |
from the Fortnum Collection.
|
| 9488 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9489 |
@@PROCESS
|
| 9490 |
614. Portrait bust of Sir Walter
|
| 9491 |
Scott
|
| 9492 |
6.45 cms. (height of bust); 12.4 cms. (diameter of board)
|
| 9493 |
Bronze with a dark brown patina. Hollow, sand-cast. The cavity
|
| 9494 |
under the bust has been filled with another metal and filed. The
|
| 9495 |
bust is mounted on a circular board of pine as if in high relief, but
|
| 9496 |
the back of the head has in fact been let into the board. `Sir W. Scott'
|
| 9497 |
is painted crudely in black on the reverse of the board.
|
| 9498 |
The bronze is kept in the Heberden Coin Room as part of the
|
| 9499 |
collection of medals purchased in 1953 from Colonel Michael H.
|
| 9500 |
Grant (whose catalogue lists portraits of scott on p.156).
|
| 9501 |
The bust appears to be a companion with Nos. 615 and 616.
|
| 9502 |
@@PROCESS
|
| 9503 |
615. Portrait bust of King George
|
| 9504 |
Ill
|
| 9505 |
6.8 cms. (height of bust); 12.4 cms. (diameter of board)
|
| 9506 |
Bronze with a dark brown patina with traces of Slding. Hollow,
|
| 9507 |
sand-cast. The cavity under the bust has been filled with another
|
| 9508 |
metal and filed. The bust is mounted on a circular board of pine as
|
| 9509 |
if in high relief, but the back of the head has in fact been let into the
|
| 9510 |
board. `Geo 111' is painted crudely in black on the reverse of the
|
| 9511 |
board.
|
| 9512 |
The bronze is kept in the Hebcrden Coin Room as part of the
|
| 9513 |
collection of medals purchased in 1953 from Colonel Michael H.
|
| 9514 |
Grant (whose catalogue lists several anonymous portraits of the king,
|
| 9515 |
p.180).
|
| 9516 |
The bust appears to bc a companion with Nos. 614 and 616.
|
| 9517 |
@@PROCESS
|
209
|
| 9519 |
|
| 9520 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9521 |
@@PROCESS
|
| 9522 |
616. Portrait bust of King George
|
| 9523 |
IV
|
| 9524 |
7.8 cms. (height of bust); 12.4 cms. (diameter of board)
|
| 9525 |
Bronze with a rusty brown patina and traces of black varnish.
|
| 9526 |
Hollow, sand-cast. The cavity under the bust has been filled with
|
| 9527 |
another metal and filed. The bust is mounted on a circular board of
|
| 9528 |
pine as if in high relief, but the back of the head has in fact been let
|
| 9529 |
into the board. `Geo IV' is painted crudely in black on the reverse
|
| 9530 |
of the board.
|
| 9531 |
The bronze is kept in the Heberden Coin Room as part of the
|
| 9532 |
collection of medals purchased in 1953 from Colonel Michael H.
|
| 9533 |
Grant (whose catalogue lists 14 anonymous portraits of the king,
|
| 9534 |
p.181).
|
| 9535 |
The bust appears to be a companion with Nos. 614 and 615.
|
| 9536 |
@@PROCESS
|
| 9537 |
210
|
| 9538 |
@@PROCESS
|
| 9539 |
617. Portrait head in relief of
|
| 9540 |
Althur Weuesley, lst duke of
|
| 9541 |
Wellington
|
| 9542 |
15.5 cms. (height of head); 22.8 cms. (diameter of backplate)
|
| 9543 |
Bronze with a black vanish worn in some salient parts to brown.
|
| 9544 |
Heavy sand-cast, open behind. Mounted on a circular plate of steel.
|
| 9545 |
There is a hole in the top of the back approximately 0.6 cms. square.
|
| 9546 |
The opening under the cutting of the bust has been filled with copper
|
| 9547 |
or a very coppery alloy.
|
| 9548 |
The bronze is kept in the Hebcrden Coin Room as part of the
|
| 9549 |
collection of medals purchased in 1953 from Colonel Michael H.
|
| 9550 |
Grant.
|
| 9551 |
The high rclicf appears to have been created by sawing off the
|
| 9552 |
back of a thrcc-dimensional head, as also is the case with
|
| 9553 |
Nos. 475 and 618.
|
| 9554 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9555 |
@@PROCESS
|
| 9556 |
618. Portrait head in relief of
|
| 9557 |
William Ewart Gladstone
|
| 9558 |
12.2 cms. (height of head); 20 cms. (diameter of board)
|
| 9559 |
Bronze with a black patina, worn to a pale brown in the nose. Heavy
|
| 9560 |
sand-cast, open behind. Mounted on a circular board of pine. A
|
| 9561 |
bolt has perforated the wall of the bronze behind the whiskers to
|
| 9562 |
proper right. The underside of the neck has been filled and coated
|
| 9563 |
with a black substance.
|
| 9564 |
The bronze is kept in the Heberden Coin Room as part of the
|
| 9565 |
collection of medals purchased in 1953 from Colonel Michael H.
|
| 9566 |
Grant.
|
| 9567 |
The head is mounted in the same manner as the bust of
|
| 9568 |
Ruskin by Drcsslcr (No. 475). As in that case and No. 617
|
| 9569 |
the high relief appears to have been created by sawing off the
|
| 9570 |
back of a three-dimensional head.
|
| 9571 |
@@PROCESS
|
| 9572 |
619. Bust portrait of Captain T.
|
| 9573 |
Heard
|
| 9574 |
22.8 cms. (height); 18.9 cms. (width at shoulders); 30.4 cms.
|
| 9575 |
(length of base); 14.8 cms. (width)
|
| 9576 |
Opaque white alabaster, mounted on a base of wood painted black
|
| 9577 |
with gold lines. `Capt. Thos. Heard / R.N. H.M.S. /ACTlvE' and
|
| 9578 |
`Byron's / 1834 / "Maid of Athens" ' is scratched in amateur letters,
|
| 9579 |
blackened for emphasis, on the underside of the block resting on the
|
| 9580 |
base. `oLD BASE FOR/ BUST oF CAPT. T. HEARD / Byron's / "Maid of
|
| 9581 |
Athens" ' is scratched on the underside of the base with a space
|
| 9582 |
between the first and second pair of lines. Also some lines in pencil,
|
| 9583 |
for which see below.
|
| 9584 |
Provenance unrecorded ( but see below).
|
| 9585 |
The Byron of the inscription may not be the poet, despite the
|
| 9586 |
poet's connection with Athens. Captain Heard was evidently
|
| 9587 |
serving on HMS Acf¢.pc. It may be that the portrait was made
|
| 9588 |
on the `Maid of Athens'. It is not a distinguished work of
|
| 9589 |
art. There are two pencil inscriptions on the undcrsidc of the
|
| 9590 |
base. One certainly reads `Georgc Richmond', the other in
|
| 9591 |
larger letters seems to read `G . . . yu . . / Br .... &C / 11
|
| 9592 |
cms high / of Black' .
|
| 9593 |
@@PROCESS
|
211
|
| 9595 |
|
| 9596 |
BRITISH SCULPTURES, UNNAMED ARTISTS
|
| 9597 |
@@PROCESS
|
| 9598 |
620. Bust portrait of an unknown
|
| 9599 |
man in classical attire
|
| 9600 |
62.8 cms. (height including socle); 11.8 cms. (height of socle);
|
| 9601 |
18.2 cms. (diameter of socle)
|
| 9602 |
Plaster of Paris varnished a rich golden brown. Thick-walled, hollow
|
| 9603 |
cast. There are vestiges of scans on the top of the head. There are
|
| 9604 |
minor chips to the drapery and the end of the nose. Initials or a
|
| 9605 |
short name probably followed by `Fecit' were scratched on the top
|
| 9606 |
of the socle at the back but cannot now bc traced.
|
| 9607 |
Provenance unknown.
|
| 9608 |
The bust looks like a work of the 1830s or 1840s.
|
| 9609 |
APPENDIX I
|
| 9610 |
Plaster Casts From the Studio of
|
| 9611 |
Sir Francis Chantrey
|
| 9612 |
The Chantrey Casts: Technique and Conservation
|
| 9613 |
Chantrey modelled his sculpture in clay. Once completed each
|
| 9614 |
work was encased with a piece-mould from which a plaster cast
|
| 9615 |
could be taken. The true origival-the clay-was then broken
|
| 9616 |
up. The only works in clay by Chantrey which seem to have
|
| 9617 |
survived are small sketch models of which one, for his portrait
|
| 9618 |
statue of Mrs Jordan, is in the Ashmolean Museum (No. 456).
|
| 9619 |
The plaster casts usually served as the models from which the
|
| 9620 |
marbles were carved, although it is conceivable that the clay
|
| 9621 |
origivals were sometimes preserved long enough to serve this
|
| 9622 |
purpose. Most of the carving was done by assistants, but Chan-trey
|
| 9623 |
not only finished his busts hinself but sometimes did so
|
| 9624 |
from the life, requesting a last sitting for this purpose (not the
|
| 9625 |
nomal practice with his rivals). The differences betwccn plaster
|
| 9626 |
and marble sculptures-apart of course from polish and
|
| 9627 |
colountirc not remarkable. Not infrequently the plaster ver-sions
|
| 9628 |
reproduced vigorous clawed tooling, in drapery and to a
|
| 9629 |
lesser extent flesh. Such textures arc reduced to the finer marks
|
| 9630 |
of the rasp in the marble. In some cases there is a completely
|
| 9631 |
different treatment of the iris or pupil . The most obvious differe-nce,
|
| 9632 |
however is in the treatment of the hair, where the handling
|
| 9633 |
of the clay was most free and least easily imitated in marble. The
|
| 9634 |
plaster of wordsworth (No. 784), for instance, reproduces the
|
| 9635 |
worms of clay which were dropped on to the forehead, and in
|
| 9636 |
other cases, such as the portrait of Lady I.ouisa Russell (No.
|
| 9637 |
@@PROCESS
|
| 9638 |
657), the poking and pushing of the wet clay is very visible. An
|
| 9639 |
equivalent but very different freedom of handling was sometimes
|
| 9640 |
achieved in the marble hair by use of the drill.
|
| 9641 |
Chantrey's handling of the top ofthc clay head was sometimes
|
| 9642 |
wild, even careless, it being a part of a portrait very unlikely to
|
| 9643 |
bc inspected closely: the cast of the bust of William Howley,
|
| 9644 |
archbishop of Canterbury, is a good example of the freedom he
|
| 9645 |
could permit himself (No. 721 ). In this case the points are also
|
| 9646 |
clearly visible. Cleaning has revealed these on almost all the
|
| 9647 |
plasters. They are always most apparent on the hair and are of
|
| 9648 |
two types- single point and a circled one-made with a pencil
|
| 9649 |
sharp enough to penetrate the surface of the plaster.
|
| 9650 |
Piece-moulds lcavc seams in the plaster casts but these were
|
| 9651 |
carefully cleaned off and their traces arc not easy to find except
|
| 9652 |
on the crown of the head. The reason for this is that when the
|
| 9653 |
piece-mould has bccn assembled for the plaster of Paris to be
|
| 9654 |
poured into it one small piece of the mould-a sort of plug-is
|
| 9655 |
left out so that the /o»7¢¢fo„G can reach inside the mould and
|
| 9656 |
ensure that the plaster has flowed right down. When he has
|
| 9657 |
done this he will rcplacc the plug, but thcrc arc bound to bc
|
| 9658 |
larger seams and more untidiness at this point which it would
|
| 9659 |
be tedious to conceal.
|
| 9660 |
The socles of the busts, when there was one, were all cast
|
| 9661 |
separately. They are of standard size and type and probably
|
| 9662 |
existed ready made in the sculptor's workshop in large batches.
|
| 9663 |
The join was made when the plaster had just been poured into
|
| 9664 |
the mould and it was reinforced with a large peg of deal-in
|
| 9665 |
one or two cases only does iron seem to have bccn employed
|
| 9666 |
for this purpose.
|
| 9667 |
It seems always to be the case that the head of each male
|
| 9668 |
portrait statue was scparatcly cast and then fitted, by the same
|
| 9669 |
method, to the body. When the statues were sawn up an attempt
|
| 9670 |
was made to convert them into busts, but often the heads must
|
| 9671 |
have fallen off and in many cases they were loosened. In the
|
| 9672 |
case of the statue of George Ill, for instance (No. 638), a
|
| 9673 |
smooth rim easily distinguishable from a sawn edge is visible.
|
| 9674 |
The female effides do not generally have separately cast heads
|
| 9675 |
but then they were often not really protraits at all. It was
|
| 9676 |
above all when the statue was a portrait that Chantrey found it
|
| 9677 |
convenient to work on the head separately and when he did so
|
| 9678 |
it was also cast separately. This must have been a common
|
| 9679 |
practice, but Chantrey's sculpture ccltainly suffers from it: in
|
| 9680 |
very few of his statues docs the body possess a very distinctive,
|
| 9681 |
individual, character-and in none is the body active.
|
| 9682 |
Most of the detached heads seem to be solid-as was the
|
| 9683 |
case for instance with the sleeping child (No. 655)-nd it is
|
| 9684 |
remarkable that this is also the case with a great many of the
|
| 9685 |
bodies, as can be clearly seen from the cuts through the chest
|
| 9686 |
(e.g. No. 670). Sometimes there is a hollow interior, although
|
| 9687 |
the walls are immensely thick. Such a hollow is visible, for
|
| 9688 |
instance, when the surviving pordon of the statue of Mrs Jordan
|
| 9689 |
is lifted up (No. 649). In this case it is clear that the plaster was
|
| 9690 |
handled in the hollow. It is likely that, in a case like this, the
|
| 9691 |
figure was cast in two parts. When the top part of the figure
|
| 9692 |
was being poured-head downwards-the /o7'7i¢¢forG would
|
| 9693 |
have reached in and pushed the plaster down into the head and
|
| 9694 |
then kept a sort of tunnel which enabled him to push it sideways.
|
| 9695 |
The immense weight of these casts does not sccm to have
|
| 9696 |
been regarded as a disadvantage. It obviously made them more
|
| 9697 |
stable, and more easily repaired, and it must have been necessary
|
| 9698 |
for the effective securing of scparatcly cast units. The surviving
|
| 9699 |
casts of wcstmacott's works show the same tcchniquc. It may
|
| 9700 |
not have been possible to make tight-sheucd plaster casts at this
|
| 9701 |
date, at least on a large scale. In my experience plaster casts after
|
| 9702 |
the antique made in 1780 or 1820 are far heavier than those
|
| 9703 |
made in about l880-sometimes as much as ten times heavier.
|
| 9704 |
From the studio sales of cightecnth-century portrait sculptors
|
| 9705 |
it is clear that they must have made numerous plaster casts of
|
| 9706 |
@@PROCESS
|
213
|
| 9708 |
|
| 9709 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 9710 |
their busts-this was especially the case with busts of historical
|
| 9711 |
celebrities such as Milton, Shakespeare, Inigo Jones, and
|
| 9712 |
Newton. There is no technical reason why Chantrey should not
|
| 9713 |
have done this. In some cases a patron may have requcstcd casts
|
| 9714 |
for presentation to friends (this is documcnted in the sculptor's
|
| 9715 |
ledger in the case of Thomas Johncs of Hafod) but in the case
|
| 9716 |
of a famous sitter this practice made it casicr for marble copies
|
| 9717 |
to be made by his rivals and Chantrey, who was much irritated
|
| 9718 |
by piracy, may have been wary of this.
|
| 9719 |
All the same if a sculptor issued an edition of plaster casts
|
| 9720 |
properly inscribed with name and date he enjoyed legal pro-tection
|
| 9721 |
and could make a good profit without ever having to
|
| 9722 |
carve a marble version-r at least before hc did so. There is
|
| 9723 |
evidence that Chantrey did precisely this carly in his career: the
|
| 9724 |
plaster bust of Sir Francis Burdett (no. 685) reproduced an
|
| 9725 |
inscription neatly incised in the model as follows `modeucd
|
| 9726 |
by/F. L. Chantrey/published Scpt. 1 1810.' This reveals that
|
| 9727 |
the bust was made with publication of a plaster edition in mind.
|
| 9728 |
The same is true of the bust of John Home Tookc (No. 773)
|
which is inscribed `modclled by F. L. Chan-trey/
|
| 9730 |
published/December I/1810.' These busts were both
|
| 9731 |
exhibited at the Royal Academy in 1811, presumably as plasters,
|
| 9732 |
and the marble versions were only made much later. Burdett
|
| 9733 |
was in prison in 1810 for his pohitical beliefs. Tookc was a close
|
| 9734 |
ally. Chantrey surely made these works for the supporters of
|
| 9735 |
these two radical heroes-to whom indeed he was at that date
|
| 9736 |
himself sympathetic. Thercaftcr, however, it seems that Chantrey
|
| 9737 |
did not issue editions of plaster casts.
|
| 9738 |
On 7 May 1845, not long after the casts had been installed
|
| 9739 |
in the University Galleries, I.ady Chantrey wrote to the Curators
|
| 9740 |
(A4l¢."#fGf, Ashmolean Library, AMS. 41. pp. 8-9) urgivg them
|
| 9741 |
not to permit aftcrcasts of the plasters to be made. Her husband's
|
| 9742 |
own moulds had, she claimed, been destroyed. A few exceptions,
|
| 9743 |
however, were made. I.ater in the same year, and surely with
|
| 9744 |
her permission, Gcorgc Jones wrote requesting that an aftcrcast
|
be made of the bust of Sir Francis Burdett for Miss Burdett-
|
| 9746 |
Coutts (ibid. 11). An aftercast of a bust of `Dr Dutton' (pre-sumably
|
| 9747 |
Dalton) was permitted in 1866 (ibid. 38), and one of
|
| 9748 |
the entire statue of Roscoe was made at the request of the mayor
|
| 9749 |
of hiverpool after the marble, in St Georgc's Hall, was broken
|
| 9750 |
in 1893.
|
| 9751 |
As was mentioned in the second introductory essay to this
|
| 9752 |
volume Chantrey's plasters were described on their arrival in
|
| 9753 |
Oxford as `ganbogc' coloured. They must have been coated
|
| 9754 |
with shellac when in his studio. This would have protected the
|
| 9755 |
surface, making it harder and also easier to clean, but the sheuac
|
| 9756 |
would have darkened from a pale gold to a dark yellow and, in
|
| 9757 |
some cases, to a ruddy brown. The same witness recorded that
|
| 9758 |
the casts when displayed had changed colour. They must have
|
| 9759 |
bccn painted on arrival with the thin coat of a stone colour
|
| 9760 |
which all of the unrcstored examples retain. This paint contained
|
| 9761 |
shellac and was brittle and has in most cases flaked off in parts.
|
| 9762 |
It also bacane dirty - very dirty from the bascmcnt stores. The
|
| 9763 |
first and simplest, but certainly the least satisfactory, remedy was
|
| 9764 |
to coat the dirty sculpture with whitewash. This was done to
|
| 9765 |
the six items loaned in March 1951 to the Chantrey exhibition
|
| 9766 |
at the Graves Art Gallery in Sheffield-the busts of Nollekens,
|
| 9767 |
J. R Smith, Home Tooke, Wilham IV, George IV, and the
|
| 9768 |
@@PROCESS
|
| 9769 |
214
|
| 9770 |
colossal Wellington (Nos. 742, 759, 773, 781, 709, 778). Apart
|
| 9771 |
from the fact that the freshness of the modelling was obscured
|
| 9772 |
by the inevitable thickness of the coating, the whitewash itself
|
| 9773 |
rapidly became grubby.
|
| 9774 |
During the 1970s a campaign of cleaning was commenced
|
| 9775 |
by Mohammed Saleh of the Cast Gallery. Mr Salch laboriously
|
| 9776 |
scraped off not only the stone-coloured paint but the original
|
| 9777 |
layer of darkened shellac. This last however had penctratcd the
|
| 9778 |
plaster, discolouring it to an uneven degrcc, and damp moulds
|
| 9779 |
had also contributed to stain the surface, so when the outer skin
|
| 9780 |
of the origival layer of shellac was removed the plaster often
|
| 9781 |
appeared a disagreeable, blotchy colour. It was also not always
|
| 9782 |
obvious where to stop scraping (No. 685). In 1986 the Pilgrim
|
| 9783 |
Trust gave a grant towards the cost of a larger campaign of
|
| 9784 |
cleaning which was carried out by Rachcl Kenward under the
|
| 9785 |
supervision of David Armitage of the Department of Eastern
|
| 9786 |
Art. The policy now was to leave the origival shellac skin-r
|
| 9787 |
to repair it when it had come off--which involved less risk to
|
| 9788 |
the origival surface and, whilst often keeping the plasters darker
|
| 9789 |
than they were originally, avoided the appearance of diseased
|
| 9790 |
skin. It is hoped that some of the more notable succcsscs of this
|
| 9791 |
campaign-the busts of Porson and Englefield, Ijord Farnbor-ough
|
| 9792 |
and Sir John Soane, and Queen Victoria among them-will
|
| 9793 |
be placed on display in the galleries.
|
| 9794 |
Another policy was adopted in the treatment of a set of busts
|
| 9795 |
which were sent out on loan to the National Trust at Belton
|
| 9796 |
House in Iincolnshire. At a suggestion of Alastair I.aing a virtue
|
| 9797 |
was made of the filthy condition of the stone-coloured paint.
|
| 9798 |
This surface was first patched with shellac where it had flakcd
|
| 9799 |
and then touched-in with easily removable paint. The colour on
|
| 9800 |
each was toned, with the same paint, to a more or less uniform
|
| 9801 |
brown to achieve an effect not unlike a `bronze finish'. This
|
| 9802 |
work was undertaken by Kathleen Kimber of the Department
|
| 9803 |
of Antiquities assisted by Catherine Gormley, a volunteer.
|
| 9804 |
Much work remains to be done on the Chantrey plasters and
|
| 9805 |
although an have been photographed for this catalogue many
|
| 9806 |
of these photographs document the damage to them and also
|
| 9807 |
the markings on them which so eloquently reveal the changivg
|
| 9808 |
attitude towards them-the neat black writing on the socles
|
| 9809 |
which identified them for the visitor in the 1850s and 1860s;
|
| 9810 |
the numbered labels stuck on them when they were consigned
|
| 9811 |
to bascmcnt storage-printed paper labels like those put on `left
|
| 9812 |
luggage' or goods consigned to auction; the chalkcd numbers
|
| 9813 |
scrawled on them in this centurylrude like the markings on
|
| 9814 |
trees singled out for felling; and lastly the neat card labels on
|
| 9815 |
ribbon made in the l980s which reveal a concern for the welfare
|
| 9816 |
of the sculpture and a respect for its value.
|
| 9817 |
The following works are abbreviated in the catalogue entries:
|
| 9818 |
The Manuscript ledger of Sir Francis Chantrey in the I.ibrary of the
|
| 9819 |
Royal Academy of Arts.
|
| 9820 |
JosephF.ishel,Et;chedRemini§encesOftheModelsdySirFrancisChmutrey
|
| 9821 |
in the University Galleries (Oxf;old, \85\).
|
| 9822 |
TL lame Poole, Catalogue Of Portraits in the Possession Of the University,
|
| 9823 |
3 vols. (Oxford,1912-15).
|
| 9824 |
AL. Ports, Sir Francis Chantrey 1781-1841, Sculptor Of the Great,
|
| 9825 |
Catalogue of exhibition at the National Portrait Gallery, I.ondon,
|
| 9826 |
and the Mappin Art Gallery, Sheffield, 1981.
|
| 9827 |
R. Gumis, Dictionary Of British Sculptors 1660-1851 (hondor\, +95\).
|
| 9828 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 9829 |
PART I
|
| 9830 |
Full-length statues, monumental effiges, and reliefs
|
| 9831 |
( mostly fragmentary)
|
| 9832 |
@@PROCESS
|
| 9833 |
621. Dr James ANDERSON
|
| 9834 |
(d. 1809)
|
| 9835 |
23.7 cms. (height)
|
| 9836 |
Head broken at the neck. From a seated whole-length
|
| 9837 |
figure. Cleaned (to the plaster) by
|
| 9838 |
Mohammed Salch. Vcstigcs of shellac remain.
|
| 9839 |
Points visible. Parallel scratches on crown of head.
|
| 9840 |
Small hole in the back of the head. Probably a
|
| 9841 |
scparatcly cast unit.
|
| 9842 |
Chantrey tlft, no. 5; Efc4ed Rc7"G."j.fcG"cGf, no. 41;
|
| 9843 |
Lane Poole, no. 517.
|
| 9844 |
Marble erected in Madras, according to
|
| 9845 |
Gunnis. Commissioned 1815, paid for 1819
|
| 9846 |
(RA Ledger, p. 42), exhibited Royal Academy
|
| 9847 |
1819 (no.1181) as posthumous and to be
|
erected in Madras. Andcrson was Physician-
|
| 9849 |
General of the East India Company at
|
| 9850 |
Madras, also a botanist and agriculturalist.
|
| 9851 |
@@PROCESS
|
| 9852 |
622. Stephen BABINGTON
|
| 9853 |
(d. 1822)
|
| 9854 |
45.4 cms. (height); 43.4 cms. (width across
|
| 9855 |
shoulders)
|
| 9856 |
Head and shoulders, sawn across chest and raised
|
| 9857 |
hand. Chipped on the sawn edge. From a seated
|
| 9858 |
whole-length figure. Uncleaned. Flaking on neck
|
| 9859 |
and side of face. An unusually red shellac.
|
| 9860 |
Chantrey Sft, no. 7S Etched Reminiscences. no. 37.,
|
| 9861 |
I.anc Poolc, no. 519.
|
| 9862 |
Marble erected in Bombay, according to
|
| 9863 |
Gunnis. Commissioned 1824, paid for 1828
|
| 9864 |
(RA Ledger, p. 168), exhibited Royal
|
| 9865 |
Academy 1827 (no.1123). Babington was a
|
| 9866 |
judge in the Bombay Civil Service.
|
| 9867 |
@@PROCESS
|
| 9868 |
623. Sir Joseph BANKS Bt.
|
| 9869 |
(1743-1820)
|
| 9870 |
31.6 cms. (height); 43 cms. (width across
|
| 9871 |
shoulders)
|
| 9872 |
Head and shoulders sawn across upper chest. From
|
| 9873 |
a seated whole-length figure. Large chips missing
|
| 9874 |
fi.om the sawn edge at proper right shoulder and
|
| 9875 |
to proper left of collar. Uncleancd. Slight flaking,
|
| 9876 |
especially on the face.
|
| 9877 |
Chantrey Sft, no. 9: Efc4cd RcowS.„!.JCG"ccf, no. 14;
|
| 9878 |
Lane Poolc, no. 521.
|
| 9879 |
Marble in the Natural History Museum
|
| 9880 |
(transferred from the British Museum).
|
| 9881 |
Commissioned for the British Museum 1821,
|
| 9882 |
completed 1827, paid for 1833 (RA Ledger,
|
| 9883 |
P. 147). Banks was a traveller and botanist,
|
| 9884 |
promoter of the natural sciences, President
|
| 9885 |
of the Royal Society, and Trustcc of the
|
| 9886 |
British Museum.
|
| 9887 |
@@PROCESS
|
| 9888 |
624. Shute BARRINGTON, bishop
|
| 9889 |
of Durham ( 1734-1826)
|
| 9890 |
44.6 cms. (height); 35.8 cms. (width)
|
| 9891 |
Head and shoulders sawn across upper chest just
|
| 9892 |
below bands. From a kneeling whole-length figure.
|
| 9893 |
The proper left shoulder has been broken off. Minor
|
| 9894 |
chips arc missing along the sawn edge. Uncleaned.
|
| 9895 |
Some flaking, especially to the face.
|
| 9896 |
Chantrey 5ft, no. I I; Efc¢Gd Rccoz."¢.fcc"cGf, no. 4;
|
| 9897 |
Imc Poole, no. 523.
|
| 9898 |
Marble, dated 1830, serves as his monument
|
| 9899 |
in Durham Cathedral. Barrington was bishop
|
| 9900 |
of IJandaff, Salisbury, and Durham in
|
| 9901 |
succession.
|
| 9902 |
@@PROCESS
|
| 9903 |
625. Heny BATHURST, bishop of
|
| 9904 |
Norwich ( 1744-1837)
|
| 9905 |
40 cms. (height); 53.2 cms. (width)
|
| 9906 |
Head and shoulders. Sawn across upper chest. From
|
| 9907 |
a scatcd whole-length figure. A large chip is missing
|
| 9908 |
from the sawn edge at his left shoulder and right
|
| 9909 |
collar. The head is loose and was probably a
|
| 9910 |
scpa.rately cast unit. Uncleaned. Some fla.king to
|
| 9911 |
wig and robes.
|
| 9912 |
Char\:tray bR, no. L3; Etched Reminiscences, no.
|
| 9913 |
22; I.one Poolc, no. 525.
|
| 9914 |
Marble serves as his monument in Norwich
|
| 9915 |
Cathedral ( N. Penny, C4#rc4 44o„#owc"£f ¢.„
|
| 9916 |
Roov¢»£z.c E"g/¢#¢ (New Haven, Conn., and
|
| 9917 |
I.ondon, 1977), 75, pl. 54). Exhibited at the
|
| 9918 |
Royal Academy 1841 (no. 1218)
|
| 9919 |
posthumously as the sculptor's last work.
|
| 9920 |
Bathurst was bishop of Norwich 1805-37
|
| 9921 |
and a VAg.
|
| 9922 |
@@PROCESS
|
| 9923 |
626. Mary Anne, Mrs Matthew
|
| 9924 |
Robinson BOULTON
|
| 9925 |
(1795-1829)
|
| 9926 |
30.I cms. (height)
|
| 9927 |
Head and neck. Sawn across lower neck. From a
|
| 9928 |
reclining wh.olc-length figure. Part of the half has
|
| 9929 |
bccn broken fi.om the proper left side and the back
|
| 9930 |
of the head. Uncleancd. Extcnsivc flaking in hair
|
| 9931 |
and neck.
|
| 9932 |
Chantrcy dft, no. 16; Efcifed RGowG.~G.fcc„ccf, no.
|
| 9933 |
16; Ime Poolc, no. 528.
|
| 9934 |
Marble, dated 1834, serves as her monument
|
| 9935 |
@@PROCESS
|
215
|
| 9937 |
|
| 9938 |
AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 9939 |
in the parish church at Great Tew,
|
| 9940 |
Oxfordshire (N. Penny, C4#"A 44lo„#owc„fJ
|
| 9941 |
in Romantic England (ENc:w Haven. Cor\n..
|
| 9942 |
and Ijondon, 1977), 87, pl. 64).
|
| 9943 |
Commissioncd 1830, completed 1834, paid
|
| 9944 |
for 1836 (RA Ledger, p. 228). Mrs Boulton
|
| 9945 |
was the daughter-in-law of Matthew Boulton
|
| 9946 |
the entrepreneur.
|
| 9947 |
@@PROCESS
|
| 9948 |
627. Mary Ann, Lady BRADFORD
|
| 9949 |
(d. 1830)
|
| 9950 |
46.2 cms. (height)
|
| 9951 |
Head and part of the chest, hands, and pillow. Sawn
|
| 9952 |
horizontally from a rcclinng whole-length figure.
|
| 9953 |
Much chipping at sawn edge. End of thumb of her
|
| 9954 |
right hand broken off and missing. Uncleaned.
|
| 9955 |
Extensive flaking.
|
| 9956 |
Chantrey Bft, no. 17; Efc4G¢ RcacG.#®.fce"ccf, no.
|
| 9957 |
40; I,are Poole, no. 529.
|
| 9958 |
Marble, dated 1834, serves as a monument
|
| 9959 |
in Har[bum Church, Northumberland.
|
| 9960 |
Commissioned 1831, completed 1834 (RA
|
| 9961 |
Ledger, p. 239). I.ady Bradford, wife of
|
| 9962 |
hieut-General Sir Thomas Bradford KCB,
|
| 9963 |
died at sea.
|
| 9964 |
@@PROCESS
|
| 9965 |
628. George CANNING
|
| 9966 |
(1770-1827)
|
| 9967 |
41.4 cms. (height); 51 cms. (width at shoulders)
|
| 9968 |
Head and shoulders. Sawn just below shoulders.
|
| 9969 |
From a whole,Length standing figure. I.argc chips
|
| 9970 |
missing from draperies along the sawn edge.
|
| 9971 |
Uncleaned. Extensive flaking.
|
| 9972 |
Chantrcy dft, no. 22; Efchcd RGow;„;Jce»cef, no.
|
| 9973 |
15; I.one Poolc, no. 534.
|
| 9974 |
Marble in St Georgc's Ham, I.iverpool.
|
| 9975 |
Commissioned 1829, completed 1832 (RA
|
| 9976 |
Ledger, p. 214), exhibited Royal Academy
|
| 9977 |
1832 (no.1171, specified as of marble).
|
| 9978 |
Canning was a leading Tory statesman and
|
| 9979 |
orator. See also No. 629.
|
| 9980 |
@@PROCESS
|
| 9981 |
629. George CANNING
|
| 9982 |
(1770-1827)
|
| 9983 |
31.2 cms. (height)
|
| 9984 |
Head broken off at the neck about two inches
|
| 9985 |
below the chin. From a whole-length standing
|
| 9986 |
figure. Unclcaned. Extensive flaking. The head was
|
| 9987 |
clearly a separately cast unit.
|
| 9988 |
Chantrey Sft, no. 23; lane Poole, no. 535.
|
| 9989 |
Marble in Wesrminstcr Abbey.
|
| 9990 |
Commissioned 1829, completed 1834 (RA
|
| 9991 |
I.edger, p. 213) Canning was a leading Tory
|
| 9992 |
statesman and orator. See also No. 628. Lane
|
| 9993 |
Poole erroncously connects this with the
|
| 9994 |
bronze statue in New Palace Yard,
|
| 9995 |
Westminster, which is the work of sir Richard
|
| 9996 |
Westmacott.
|
| 9997 |
@@PROCESS
|
| 9998 |
216
|
| 9999 |
@@PROCESS
|
| 10000 |
630. Thomas COUTTS
|
| 10001 |
(1735-1822)
|
| 10002 |
37.3 cms, (height); 44.6 cms. (width)
|
| 10003 |
Head and shoulders. Sa`m just below shoulders.
|
| 10004 |
From a whole-length seated figure. Chips missing
|
| 10005 |
along the sawn cdgc, a large one fi.om his right
|
| 10006 |
collar. A small loss to the point of the nose.
|
| 10007 |
Uncleaned.
|
| 10008 |
Chantrey Sft, no. 30; Efc4cd Rcacg.#G.fce"ccf, no.
|
| 10009 |
53; Lenc Poolc, no. 542.
|
| 10010 |
Marble in Coutts' Bank, The Strand, I.ondon.
|
| 10011 |
Commissioned 1824, completed 1827, paid
|
| 10012 |
for 1828 (RA Ledger, p. 167). Coutts was
|
| 10013 |
the co-founder, with his brother, of the bank
|
| 10014 |
Coutts and Co.
|
| 10015 |
@@PROCESS
|
| 10016 |
631. John DALTON DCL
|
| 10017 |
(1766-1844)
|
| 10018 |
46.5 cms. (height); 48.6 cms. (width)
|
| 10019 |
Head, shoulders, and proper right hand. Sawn
|
| 10020 |
through the upper chest and wrist. From a whole-length
|
| 10021 |
seated figure. Chips missing from sawn edge,
|
| 10022 |
also recent damage to proper right shoulder
|
| 10023 |
(frogments from which survive). Uncleancd. Flaking
|
| 10024 |
on chin and around eyes.
|
| 10025 |
Chantrey dft, no. 35; E}c¢cd Rcow¢.cog.fcc„ccf, no.
|
| 10026 |
38; Irmc Pcolc, no. 547.
|
| 10027 |
Marble in the Town Hall, Manchester
|
| 10028 |
(formerly in the Royal Manchester
|
| 10029 |
Institution). Commissioned 1834, paid for
|
| 10030 |
1840 (RA Ledger, p. 259), exhibited Royal
|
| 10031 |
Academy 1837 (no.1162, specified as of
|
| 10032 |
marble). Dalton was a chemist and natural
|
| 10033 |
scientist, professor at New College,
|
| 10034 |
Manchester, and President of the Manchester
|
| 10035 |
Philosophical Society.
|
| 10036 |
@@PROCESS
|
| 10037 |
632. Charlotte Elizabeth DIGBY
|
| 10038 |
(1778-1820)
|
| 10039 |
43.8 cms. (height); 38.7 cms. (width)
|
| 10040 |
Head and shoulders. Sawn through the breasts and
|
| 10041 |
upper arms. From a whole-length reclining figure.
|
| 10042 |
Chips missing from sawn edge. Unclcancd.
|
| 10043 |
Extensive flaking especially in the face.
|
| 10044 |
Chantrey Sft, no. 36; E}c¢ed RcowG.#£.JCG"CCJ, no.
|
| 10045 |
16; Lane Poole, no. 548.
|
| 10046 |
Marble, dated 1825, serves as monument in
|
| 10047 |
Worcester Cathedral (N.B. Penny, C¢#rc¢
|
| 10048 |
Monttments in Romantic England (ENc:iw
|
| 10049 |
Haven, Conn., and London, 1977), 86, pl.
|
| 10050 |
63). Commissioned 1823, completed 1825
|
| 10051 |
(RA Ledger, p. 157), exhibited Royal
|
| 10052 |
Academy 1826 as `Resignation'. Mrs Digby
|
| 10053 |
was Maid of Honour to Queen Charlotte.
|
| 10054 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10055 |
@@PROCESS
|
| 10056 |
633. William Henry Dawnay,
|
| 10057 |
Viscount DOWNE ( 1812-54)
|
| 10058 |
45.6 cms. (height); 52.2 cms. (width)
|
| 10059 |
Head and shoulders. Sawn through chest just below
|
| 10060 |
ermine collar. From a whole-length standing figure.
|
| 10061 |
Chips missing from sawn edge, a large one at proper
|
| 10062 |
left side. Uncleaned. Slight flaking to face.
|
| 10063 |
Chantrey bft. i\o. 37., Etched Remini§cence§. no.
|
| 10064 |
32; Lane Poole, no. 549.
|
| 10065 |
Marble in Snaith Church, Yorkshire.
|
| 10066 |
Commissioncd in 1833, completed 1838
|
| 10067 |
(RA I.edger, p. 256). In Chantrey's ledger
|
| 10068 |
the reference is to the earl of Downc, but
|
| 10069 |
this seems to have been an error.
|
| 10070 |
@@PROCESS
|
| 10071 |
634. Robert DUNDAS of Arniston
|
| 10072 |
(1758-1819)
|
| 10073 |
41.5 cms. (height); 47.5 cms. (width)
|
| 10074 |
Head and shoulders. Sawn through upper chest just
|
| 10075 |
below shoulders. From a whole-length seated
|
| 10076 |
figure. The head, which is obviously a separately
|
| 10077 |
cast unit, is loose. A chip missing from sawn edge
|
| 10078 |
to proper left. Unclcancd. Extcnsivc flaking to
|
| 10079 |
forehead.
|
| 10080 |
Cha:utrey trft. no. 40: Etched Rcminiscences` no.
|
| 10081 |
51; Lane Poole, no. 552.
|
| 10082 |
Marble statue erected in the Sessions House,
|
| 10083 |
Edinburgh. Commissioned 1820, completed
|
| 10084 |
1821, paid for 1822 (RA Ledger, p.117).
|
| 10085 |
Dundas was appointed Chief Baron of the
|
| 10086 |
Exchequer of scotland. See also No. 700.
|
| 10087 |
@@PROCESS
|
| 10088 |
635. Sir Edward Hyde EAST Bt.
|
| 10089 |
(1764-1847)
|
| 10090 |
43.7 cms. (height); 53.I cms. (width)
|
| 10091 |
Head, shoulders, and proper right forearm. Sawn
|
| 10092 |
through chest. From a whole-length seated figure.
|
| 10093 |
Minor chips missing from sawn edge. Unclcaned.
|
| 10094 |
FLaking.
|
| 10095 |
Chai\t[ey ¢R` no. 43: Etched Reminiscence§` r\o.
|
| 10096 |
12; I.anc Poole, no. 555.
|
| 10097 |
Marble erected in the Court House, Calcutta.
|
| 10098 |
Completed 1829, paid for 1832 (RA Ledger,
|
| 10099 |
p. 195), exhibited Royal Academy 1829 (no.
|
| 10100 |
I 198). East was Chief Justice of calcutta
|
| 10101 |
1813-22.
|
| 10102 |
@@PROCESS
|
| 10103 |
636. Mountstuart ELPHINSTONE
|
| 10104 |
(1779-1859)
|
| 10105 |
46.8 cms. (height); 46.6 cms. (width)
|
| 10106 |
Head and shoulders. Sawn through the upper chest.
|
| 10107 |
From a whole-length standing figure. Minor chips
|
| 10108 |
missing from sawn edge. Uncleaned. Extensive
|
| 10109 |
flaking to face.
|
| 10110 |
Cha\ntrey bit, r\o. 47.. Etched Reminiscences. no. 7.`
|
| 10111 |
hone Poole, no. 559.
|
| 10112 |
Marble erected in Bombay. First payment
|
| 10113 |
1829; completed 1834 (RA Ledger, p. 216);
|
| 10114 |
exhibited Royal Academy 1833 (no.1177).
|
| 10115 |
Elphinstone was Governor of Bombay 1819-
|
| 10116 |
27.
|
| 10117 |
@@PROCESS
|
| 10118 |
637. Sir Charles FORBES Bt.
|
| 10119 |
(1774-1849)
|
| 10120 |
34.8 cms. (height)
|
| 10121 |
Head broken off just below chin. From a full-length
|
| 10122 |
standing figure. A chip missing from the edge to
|
| 10123 |
proper left. Uncleaned. Flaking, chiefly on the nose.
|
| 10124 |
A scparatcly cast unit.
|
| 10125 |
Chantrey Sft, no. 50; Efc4c¢ Rcow®.»dec„ccf, no.
|
| 10126 |
23; Lane Poole, no. 562.
|
| 10127 |
Marble erected in the Town Hall, Bombay.
|
| 10128 |
Commissioned by the native merchants of
|
| 10129 |
Bombay 1839, paid for 1841 (RA I.cdgcr, p.
|
| 10130 |
@@PROCESS
|
| 10131 |
295), exhibited Royal Academy 1842 (no.
|
| 10132 |
1304, specified as marble). Forbes was head
|
| 10133 |
of the merchant house of Forbes and
|
| 10134 |
Company, the biggest trading concern in
|
| 10135 |
Bombay, and also active as a political figure
|
| 10136 |
in Britain, vigorously opposed to the Reform
|
| 10137 |
Bill.
|
| 10138 |
@@PROCESS
|
| 10139 |
638. RIng GEORGE Ill
|
| 10140 |
(1738-1820)
|
| 10141 |
38.8 cms. (height)
|
| 10142 |
Head and part of shoulders. Sawn across the
|
| 10143 |
shoulders. From a whole-length standing figure.
|
| 10144 |
The head (a separately cast unit) now loose. Dccp
|
| 10145 |
scratches across eyebrows and nose. Some chips
|
| 10146 |
along the sawn edge. Three holes behind the proper
|
| 10147 |
left shoulder. Uncleaned.
|
| 10148 |
Chai\tTcy tsft. no. 52., Etched Reminiscences` Ilo.
|
| 10149 |
21; I.arc Poole, no. 564.
|
| 10150 |
Marble statue, dated 1812, erected in the
|
| 10151 |
Guildhall, I.ondon (destroyed by enemy
|
| 10152 |
action,1940). Commissioned 1811,
|
| 10153 |
completed 1812, erected 1815 (RA I.cdgcr,
|
| 10154 |
p.15).
|
| 10155 |
@@PROCESS
|
| 10156 |
639. King GEORGE IV
|
| 10157 |
(1762-1830)
|
| 10158 |
48.2 cms. (height)
|
| 10159 |
Head and part of neck. Broken across neck. From
|
| 10160 |
a colossal full-length standing figure. I.argc chips
|
| 10161 |
missing from curls. Uncleancd. A separately cast
|
| 10162 |
unit.
|
| 10163 |
Chal\trey gife` no. 54: Etched Reminiscences` no.
|
| 10164 |
17; I.anc Poole, no. 566.
|
| 10165 |
The bronze statue was erected at Brighton,
|
| 10166 |
the marble at windsor Castle. The latter was
|
| 10167 |
commissioned 1828, completed 1832, paid
|
| 10168 |
for 1836 (RA Ledger, p. 210).
|
| 10169 |
@@PROCESS
|
| 10170 |
637
|
| 10171 |
@@PROCESS
|
217
|
| 10173 |
|
| 10174 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10175 |
@@PROCESS
|
| 10176 |
640. General Sir Robert Rollo
|
| 10177 |
GILLESPIE KCB ( 1766-1814)
|
| 10178 |
42.7 cms. (height)
|
| 10179 |
Head and neck. Sawn through collar. From a full-length
|
| 10180 |
standing figure. Chipped along sawn edge
|
| 10181 |
with a pordon of the collar broken off. Cleaned by
|
| 10182 |
Rachel Kenward. Origival shellac finish rctaincd.
|
| 10183 |
Chantrey Bit, no. 55: Etched Reminiscences, no.
|
| 10184 |
25; I.anc Poole, no. 567.
|
| 10185 |
Marble serves as monument in St PauL's
|
| 10186 |
Cathedral. Commissioned 1816, completed .7r
|
| 10187 |
and erected 1826 (RA Ledger, p. 55).
|
| 10188 |
GiLlespie served as a commanding officer in
|
| 10189 |
India and Jamaica.
|
| 10190 |
@@PROCESS
|
| 10191 |
641. Henry GRATTEN
|
| 10192 |
(1746-1820)
|
| 10193 |
43.9 cms. (height)
|
| 10194 |
Head and shoulders. Sawn across upper chest. From
|
| 10195 |
a full-length standing figure. Chips missing from
|
| 10196 |
the sawn edge all round. large chip missing below
|
| 10197 |
proper right collar. A large part of the proper left
|
| 10198 |
shoulder missing. Unclcaned. Extcnsivc flaking
|
| 10199 |
especially to lower part of face.
|
| 10200 |
Chanttey givtt. no. 56S Etched Reminiseenees` r\o.
|
| 10201 |
19; Imc Poole, no. 568.
|
| 10202 |
Bronze, erected in the City Hall, Dublin.
|
| 10203 |
Commissioned 1822, completed 1827, paid
|
| 10204 |
for 1829 (RA Ledger, p. 153), exhibited
|
| 10205 |
Royal Academy 1826 (no. 1067, as a `model',
|
| 10206 |
presumably of plaster, to bc cast in bronze).
|
| 10207 |
Grattan was an Irish statesman and orator.
|
| 10208 |
@@PROCESS
|
| 10209 |
642. Regivald HEBER, bishop of
|
| 10210 |
Calcutta ( 1783-1826)
|
| 10211 |
43.5 cms. (height)
|
| 10212 |
Head and collar. Sawn across shoulders. From a
|
| 10213 |
full-length kneeling figure. I,arge chips missing
|
| 10214 |
from the sawn edge all round. Unclcaned. Slightly
|
| 10215 |
flaking.
|
| 10216 |
Chantrey Sft, no. 62; Efc4Gd RcowG.ce;fcc"ccj, no.
|
| 10217 |
27; hac Poole, no. 574.
|
| 10218 |
The marble serves as a monument in St Paul's,
|
| 10219 |
Calcutta (oridnally crcctcd in St Tohn's,
|
| 10220 |
Calcutta). Commissioned 1827, completed
|
| 10221 |
1835 (RA Ledger, p. 199). Heber, a poet
|
| 10222 |
and hymn-writer of note, was bishop of
|
| 10223 |
Calcutta 1822nd. See Nos. 643 and 714.
|
| 10224 |
@@PROCESS
|
| 10225 |
218
|
| 10226 |
@@PROCESS
|
| 10227 |
638 640
|
| 10228 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10229 |
@@PROCESS
|
| 10230 |
643. Reginald HEBER, bishop of
|
| 10231 |
Calcutta ( 1783-1826)
|
| 10232 |
42.7 cms. (height)
|
| 10233 |
Head and shoulders. Sawn across upper chest and
|
| 10234 |
also vertically at proper right shoulder. From a full-length
|
| 10235 |
kneeling high-relief figure, Small losses in
|
| 10236 |
the hair. Chips missing along sawn edge.
|
| 10237 |
Uncleancd. Flaking, especially on forehead.
|
| 10238 |
Chantrey gift, no. 63; Efc4Gd Rcow¢."¢.fcc#ccf, no. 2;
|
| 10239 |
I.are Poolc, no. 575.
|
| 10240 |
The marble high relief was erected as a
|
| 10241 |
monument in St George's Chapel, Madras.
|
| 10242 |
Commissioned 1827, completed 1830 (RA
|
| 10243 |
Ledger, p. 198), exhibited Royal Academy
|
| 10244 |
1830 (no. 1270). I,ane Poole confused this
|
| 10245 |
with the third of chantrey's monuments to
|
| 10246 |
Heber, the one commissioned in 1828 and
|
| 10247 |
erected in St Paul's in 1835 (RA Ledger, p.
|
| 10248 |
@@PROCESS
|
| 10249 |
215, reproduced and discussed in N. 8.
|
| 10250 |
Pc;riny , Church Monuments in Romantic
|
| 10251 |
E„g/¢"d (New Haven, Conn., and I.ondon,
|
| 10252 |
1977), 76-8, and 213, pl. 56) which
|
| 10253 |
incolporatcs a small relief on its plinth of the
|
| 10254 |
bishop blessing converted Hindus but is an
|
| 10255 |
isolated kneeling figure like the Calcutta
|
| 10256 |
monument (No. 642). The head, however,
|
| 10257 |
a.nd the disposition of the curls are the sa.me
|
| 10258 |
in the versions in Madras and St Paul's.
|
| 10259 |
@@PROCESS
|
| 10260 |
644. Francis Seymour-Conway,
|
| 10261 |
2nd marquess of HERTFORD
|
| 10262 |
(1743-1822)
|
| 10263 |
37.2 cms. (height); 50.8 cms. (width)
|
| 10264 |
Head and shoulders. Sawn across upper chest. From
|
| 10265 |
a full-length reclining figure. Chipping along the
|
| 10266 |
sawn cdgc, cspccially to proper right. A hole in the
|
| 10267 |
collar to proper left. Deep scratch in forehead.
|
| 10268 |
Uncleaned. Extensive flaking,
|
| 10269 |
Chal\trey bR, no. 67S Etched Reminiscences, no.
|
| 10270 |
50.
|
| 10271 |
The marble serves as a monument in Alccstcr,
|
| 10272 |
Warwickshire. Commissioned November
|
| 10273 |
1822, paid for 1827 (RA Ledger, p.152).
|
| 10274 |
I.ord Hertford was Ambassador
|
| 10275 |
Extraordimry to Berlin and Vienna 17934
|
| 10276 |
and I,ord Chamberlain 1812-21.
|
| 10277 |
@@PROCESS
|
| 10278 |
645. William HEY (1736-1819)
|
| 10279 |
34.8 cms. (height); 39.8 cms. (width)
|
| 10280 |
Head, shoulders, and proper left hand. Sawn across
|
| 10281 |
shoulders and wrist. From a full-length scatcd figure.
|
| 10282 |
Chips missing along sawn edge, with large losses at
|
| 10283 |
the coat collar. Unclcaned. Eyes pcncilled in.
|
| 10284 |
Extensive flaking chiefly to face.
|
| 10285 |
Chantrey dft, no. 68; Efc¢cd RcovS."G.fcGrec¢j, no.
|
| 10286 |
54; I.ane Poole, no. 580.
|
| 10287 |
Marble in Leeds Infirmary, dated 1826.
|
| 10288 |
Commissioned 1820, completed 1826 (RA
|
| 10289 |
Ledger, p. 125). Hey was a notable surgeon.
|
| 10290 |
I.one Poole speculated that the statue might
|
| 10291 |
bc of his son, also William and a surgeon
|
| 10292 |
( 1772-1844), but the commission comes the
|
| 10293 |
year after the father's death.
|
| 10294 |
@@PROCESS
|
| 10295 |
646. Francis HORNER MP
|
| 10296 |
(1778-1817)
|
| 10297 |
43.5 cms. (height); 46.5 cms. (width)
|
| 10298 |
Head and shoulders. Sawn across the chest. From
|
| 10299 |
a full-length standing figure. Uncleaned. Slight
|
| 10300 |
flaking to face and hair.
|
| 10301 |
Chantrey dft, no. 72; Efc¢c¢ RecoS.»!.jcc„ccf, no.
|
| 10302 |
29; Lane Poole, no. 584.
|
| 10303 |
Marble, dated 1823, in Westminster Abbey.
|
| 10304 |
Commissioncd,1817, completed 1823 (RA
|
| 10305 |
Ledger, p. 73). Homer was a barrister and
|
| 10306 |
statesman.
|
| 10307 |
@@PROCESS
|
| 10308 |
647. sir Hugh INGLls Bt. (d. i82o)
|
| 10309 |
35.4 cms. (length)
|
| 10310 |
Head, shoulders, and por(ion of a rolled mattress.
|
| 10311 |
Sawn across chest and diagonally through the
|
| 10312 |
mattress to either side of the head. From a full-length
|
| 10313 |
recumbent figure. Chips missing along the
|
| 10314 |
sawn cdgcs. A large piece detached from the drapery
|
| 10315 |
at the chest (replaced for the photograph).
|
| 10316 |
Uncleancd. Very slight flaking.
|
| 10317 |
Chantrey ©ft, no. 76; Etched Reminiscences, no.
|
| 10318 |
58; Imc Poolc, no. 588.
|
| 10319 |
Commissioned 1826, completed 1832, paid
|
| 10320 |
for 1836 (RA Ledger, p. 178). Inglis was
|
| 10321 |
Director of the East India Company. The
|
| 10322 |
monument is hikcly to have been erected in
|
| 10323 |
India.
|
| 10324 |
@@PROCESS
|
| 10325 |
648. Dr Cyril TACKSON
|
| 10326 |
(1746-1819)
|
| 10327 |
43 cms. (height)
|
| 10328 |
Head and shoulders. Sawn across chest. Chipped
|
| 10329 |
at sawn cdgc. From a full-length seated figure.
|
| 10330 |
Uncleaned. Slightly flaking. (The head was a
|
| 10331 |
scparatcly cast unit. It is now detachable and some
|
| 10332 |
plaster is missing from the junction. )
|
| 10333 |
Chontrey Stt, no. 78; Etched Reminiscences. no. 9S
|
| 10334 |
Idnc Poole, no. 590.
|
| 10335 |
Marble in the hall, Christ Church, Oxford.
|
| 10336 |
Commissioned 1820, complctcd 1825 (RA
|
| 10337 |
Ledger, p. 216), exhibited Royal Academy
|
| 10338 |
1824 (no. 1006). Jackson was dean of Christ
|
| 10339 |
Church from 1783 until his resignation in
|
| 10340 |
1809. Chantry used the portra.it of him by
|
| 10341 |
Opie as a model.
|
| 10342 |
@@PROCESS
|
219
|
| 10344 |
|
| 10345 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10346 |
@@PROCESS
|
| 10347 |
649. Dorothy Bland, known as Mrs
|
| 10348 |
JORDAN ( 1762-1816)
|
| 10349 |
39.2 cms. (height); 38.I cms. (width)
|
| 10350 |
Head and shoulders. Sawn across chest. Cleaned by
|
| 10351 |
Rachcl Kcnward ,
|
| 10352 |
Chantrey Sft, no. 81; Efc4c¢ Rcow¢.»¢.fce»ccf, no.
|
| 10353 |
30; Lane Poole, no. 593.
|
| 10354 |
Marble in Buckingham Palace.
|
| 10355 |
Commissioned 1831, completed 1834. See
|
| 10356 |
No. 456 where the sculpture is discussed
|
| 10357 |
more fully.
|
| 10358 |
@@PROCESS
|
| 10359 |
650. Theodosia I.ouisa, countess of
|
| 10360 |
LIVERI'OOL ( 1767-182 I )
|
| 10361 |
@@PROCESS
|
| 10362 |
135.I cms. (height)
|
| 10363 |
The plinth is chipped at all edges and scratched.
|
| 10364 |
Chips arc also missing from the top of the head,
|
| 10365 |
the veil, and the upper edge of the chair. The top
|
| 10366 |
of the thumb of the proper left hand has broken
|
| 10367 |
off and is missing. A repair to the top of the chair
|
| 10368 |
(liquid plaster from which has run down the chair
|
| 10369 |
back). Uncleancd. Flaking, especially to top of head
|
| 10370 |
and to lap. Green and black paint smeared and
|
| 10371 |
dribbled on the dress.
|
| 10372 |
Chantrey aft, no. 83; E}c¢cd RccoS.„S.jccceccf, no.
|
| 10373 |
42; Irme Pcole, no. 595.
|
Marble in All Saints Church, RIngston-on-
|
| 10375 |
Thames. Commissioned 1822, completed
|
| 10376 |
1826 (RA Ledger, p. 145), exhibited Royal
|
| 10377 |
Academy 1824 (no. 1008, perhaps as a
|
| 10378 |
plaster). Indy Liverpool was the daughter of
|
| 10379 |
the fourth earl of Bristol and first wife of the
|
| 10380 |
Prime Minister.
|
| 10381 |
@@PROCESS
|
| 10382 |
651. Sir John MALCOLM Bt. GCB
|
| 10383 |
(1769-1833)
|
| 10384 |
41 cms. (height)
|
| 10385 |
Head and neck. Broken off at junction of collar
|
| 10386 |
with shoulders. From a whole-length standing
|
| 10387 |
figure. A small perforation in the crown. Points
|
| 10388 |
visible. Uncleancd. Probably a separately cast unit
|
| 10389 |
which broke when it was attempted to detach it.
|
| 10390 |
Chantrey Sft, no. 86; Efc4e¢ Rcow¢."G.fcc»ccf, no.
|
| 10391 |
34; I.one Poolc, no. 598.
|
| 10392 |
Marble in Westminster Abbey and Bombay.
|
| 10393 |
The latter commissioned 1831, completed
|
| 10394 |
1836 (RA Ledger, p. 236, exhibited Royal
|
| 10395 |
Academy 1837 (no. 1161, specified as of
|
| 10396 |
marble). Malcolm was a. noted diplomat a.nd
|
| 10397 |
administrator in India. He was governor of
|
| 10398 |
Bombay. See No. 729.
|
| 10399 |
@@PROCESS
|
| 10400 |
220
|
| 10401 |
@@PROCESS
|
| 10402 |
650
|
| 10403 |
@@PROCESS
|
| 10404 |
651
|
| 10405 |
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
|
| 10406 |
@@PROCESS
|
| 10407 |
652. James NORTHCOTE RA
|
| 10408 |
(1746-1831)
|
| 10409 |
@@PROCESS
|
| 10410 |
142.8 cms. (height)
|
| 10411 |
Thcrc arc large losses to the cdgc of the palette.
|
| 10412 |
Thrcc fragments survive (but do not quite fill the
|
| 10413 |
gaps). There arc three dents on the collar to proper
|
| 10414 |
left. The plinth is chipped, cspccially at the comer
|
| 10415 |
behind to proper left. A large piece has been broken
|
| 10416 |
from the proper right foot. Minor chips arc missing
|
| 10417 |
elscwhcre. Uncleaned. Flaking on the proper right
|
| 10418 |
knee and on the crown.
|
| 10419 |
Chantrey dft, no. 101; Efcded Reow¢.7¢¢.fcc»ccf, no.
|
| 10420 |
38; Lane Poolc, no. 613.
|
| 10421 |
Marble in Exeter Cathedral. Commissioned
|
| 10422 |
1831, completed 1840 (RA Ledger, p. 237),
|
| 10423 |
exhibited Royal Academy 1840 (no. 1074,
|
| 10424 |
specified as of marble). Northcote was a
|
| 10425 |
painter, chiefly of portraits, and a minor
|
| 10426 |
author.
|
| 10427 |
@@PROCESS
|
| 10428 |
653. William PITT ( 1759-1806)
|
| 10429 |
57.3 cms. (height)
|
| 10430 |
Head. Dctachcd at the neck about two inches below
|
| 10431 |
chin. From a colossal whole-length standing figure.
|
| 10432 |
Large chip missing from cdgc behind head.
|
| 10433 |
Uncleaned. The head was cvidcntly a separately
|
| 10434 |
cast unit lcvered off, rather than sawn from, the
|
| 10435 |
body.
|
| 10436 |
Chantrcy &tt` no. \07S Etched Reminiscences, no.
|
| 10437 |
3; Iame Poole, no. 619.
|
| 10438 |
Bronze in Hanover Square, Ijondon.
|
| 10439 |
Commissioned 1831, completed 1833 (RA
|
| 10440 |
Ledger, p. 247). Pitt was Tory Prime Minister
|
| 10441 |
1783-1800.
|
| 10442 |
@@PROCESS
|
| 10443 |
654. Sir Thomas Stamford RAFFLES
|
| 10444 |
(1781-1826)
|
| 10445 |
45.8 cms. (height)
|
| 10446 |
Head, shoulders, and proper right forearm. Sawn
|
| 10447 |
through chest and am. From a whole-length seated
|
| 10448 |
figure, chips missing from edge of coat collar.
|
| 10449 |
Unclcancd. Extensive flaking.
|
| 10450 |
Chantrey Sft, no. I 10; Efc4cd Rceez."z.rcc#ccf, no.
|
| 10451 |
20; Lane Poole, no. 622.
|
| 10452 |
Marble dated 1832 in Westminster Abbey. A
|
| 10453 |
bust of Raffles was commissioned and
|
| 10454 |
completed in 1817 (RA Ledger, p. 53).
|
| 10455 |
Raffles was Govcmor first of Java and then
|
| 10456 |
of singapore.
|
| 10457 |
@@PROCESS
|
| 10458 |
655. Ellen Jane ROBINSON
|
| 10459 |
(d. c.1815)
|
| 10460 |
25.8 cms. (height)
|
| 10461 |
Head. Scvcred through the upper neck. From a
|
| 10462 |
whole-length rccumbcnt figure. Cleaned by Rachel
|
| 10463 |
Kenward. Picccs of iron and rust in the interior of
|
| 10464 |
@@PROCESS
|
| 10465 |
221
|
| 10466 |
the head suggest that an iron dowel was used. The
|
| 10467 |
head sccms to have been a separately cast unit. The
|
| 10468 |
porous surface comes from air bubbles in the
|
| 10469 |
plaster.
|
| 10470 |
Etched Reminiscences` rro. \ .
|
| 10471 |
Marble group (of interlaced effigies of Ellen
|
| 10472 |
Jane and her sister Mariannc) in Lichficld
|
| 10473 |
Cathedral. Commissioned 1815 (RA Ledger,
|
| 10474 |
p. 43), exhibited Royal Academy 1817 (no.
|
| 10475 |
1029). The S/ccP¢."g c¢¢./drc" was among the
|
| 10476 |
most famous of Chantrcy's sculptures; the
|
| 10477 |
children themselves were among the most
|
| 10478 |
obscure of all his subjects.
|
| 10479 |
@@PROCESS
|
| 10480 |
656. William ROSCOE MP
|
| 10481 |
(1753-1831)
|
| 10482 |
26.4 cms. (height of head); 23.I cms. (height of
|
| 10483 |
upper chest without head)
|
| 10484 |
Head and shoulders (the former now detached).
|
| 10485 |
Sawn through the chest. From a whole-length
|
| 10486 |
seated figure. Unclcaned. Flaking to shoulders and 1:`J¥ t
|
| 10487 |
hair. The head was probably cast as a separate unit.
|
| 10488 |
Chantrey Sft, no. 112; Efc¢Gd RcowS.„;fcc„ccf, no.
|
| 10489 |
10; Lane Poolc, no. 624.
|
| 10490 |
Marble in St George's Hall, I.iverpool.
|
| 10491 |
Commissioned 1835 (RA Ledger, p. 265),
|
| 10492 |
exhibited Royal Academy 1840 (no. 1071,
|
| 10493 |
specified as marble). Roscoe was a historian
|
| 10494 |
and promoter of cultural life in Liverpool.
|
| 10495 |
@@PROCESS
|
| 10496 |
657. Lady Louisa Jane RUSSELL
|
| 10497 |
(later duchess of Abercorn)
|
| 10498 |
(1812-1905)
|
| 10499 |
28.4 cms, (height)
|
| 10500 |
Head, shoulders, hands, and dove. Sawn through
|
| 10501 |
the chest and wrists. From a whole-length standing
|
| 10502 |
figure. Cleancd by Rachcl Kenward. The head was
|
| 10503 |
cast as a separate unit and is slightly loose. Points
|
| 10504 |
are very evident.
|
| 10505 |
Chantrey gift, no. I 14; Efcded RcowG."G.fcc"ccf, no.
|
| 10506 |
5; Lenc Poole, no. 626.
|
| 10507 |
Marble at Woburn Abbey, Bedfordshire.
|
| 10508 |
Commissioned 1817, completed 1818,
|
| 10509 |
exhibited Royal Academy 1818 (no.1116),
|
| 10510 |
delivered to Woburn 1819 (Potts, no. 26).
|
| 10511 |
Ijouisa was the younger daughter of the sixth
|
| 10512 |
duke of Bedford. She married the second
|
| 10513 |
marquess (later the duke) of Abercorn in
|
| 10514 |
1832.
|
| 10515 |
@@PROCESS
|
| 10516 |
658. Henry RYDER, bishop of
|
| 10517 |
Lichfield and Coventry ( 1777-1836)
|
| 10518 |
33.5 cms. (height of head); 29.7 cms. (height of
|
| 10519 |
upper chest without head); 50.I cms. (width of
|
| 10520 |
upper chest)
|
| 10521 |
Head and shoulders (the former now detached).
|
| 10522 |
Sawn through the chest. From a whole-length
|
kneeling figure. Chips missing from the folds of
|
| 10524 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10525 |
both slcevcs along sawn cdgc. Uncleaned. Flaking
|
| 10526 |
to the crown of the head. A large crack under the
|
| 10527 |
chin.
|
| 10528 |
Chantrey Sft, no. I 15; Efchcd Rcow;„ifcG„ccf, no.
|
| 10529 |
13; hanc Poolc, no. 627.
|
| 10530 |
Marble serves as monument in Lichfield
|
| 10531 |
Cathedral (N. 8. Penny, C¢"rc¢ Mo"#owG„£r
|
| 10532 |
in Romantic England (INow H:aNen, Conn.,
|
| 10533 |
and Ijondon, 1977), 78, pl. 57).
|
| 10534 |
Commissioned 1836 (RA Ledger, p. 284),
|
| 10535 |
exhibited Royal Academy 1841 (no.1251 ).
|
| 10536 |
@@PROCESS
|
| 10537 |
659. Martha, Countess
|
| 10538 |
ST VINCENT (d. 1816)
|
| 10539 |
28.2 cms. (height); 36 cms. (width)
|
| 10540 |
Head and shoulders. Sawn through upper chest.
|
| 10541 |
From a whole-length kneeling figure. Chips missing
|
| 10542 |
from sawn edge and large chip missing from the
|
| 10543 |
veil to proper right. Treated by Kathleen Kimber
|
| 10544 |
(then Miss Wcstem) 1959ndo and given a new
|
| 10545 |
painted surface to imitate the colour and polish of
|
| 10546 |
marble, Flaking.
|
| 10547 |
Chantrey Sft, no. 131; E}cAed Rcw2;„£.TCG%ccf. no.
|
| 10548 |
31; hanc Poole, no. 643.
|
| 10549 |
The marble scrvcs as a monument in
|
| 10550 |
Cavcrswall Church, Staffordshirc (N. 8.
|
| 10551 |
Pcr\Iry. Church Moriunents in Romantic
|
| 10552 |
Eceg/¢»d (New Haven, Conn. , and London,
|
| 10553 |
1977), 71, pl. 51). Commissioned 1816,
|
| 10554 |
completed 1818 (RA Ledger, p. 45). An
|
| 10555 |
idcalized portrait reused by the sculptor for
|
| 10556 |
monuments to ladies-it could be mistaken
|
| 10557 |
as an idealized moumer as distinct from a
|
| 10558 |
portrait of the deceased (see ibid. 71-3) but
|
| 10559 |
for the presence of a coronet carelessly
|
| 10560 |
propped by her side. This coronet, however,
|
| 10561 |
was perhaps an afterthought, for it is absent
|
| 10562 |
from the plaster as iuustratcd in Efc4c¢
|
| 10563 |
RcowS.„G.fcc"ccj where the composition is
|
| 10564 |
captioned `A cenotaph'. For Irddy St
|
| 10565 |
Vincent's husband see No. 753.
|
| 10566 |
@@PROCESS
|
| 10567 |
660. I.ady Frederica I.ouisa
|
| 10568 |
STANHOPE ( 1800-23)
|
| 10569 |
35.1 cms. (length)
|
| 10570 |
Head, Sawn through the neck, From a whole-length
|
| 10571 |
recumbent figure. Uncleaned. Some flaking to chin
|
| 10572 |
and to veil.
|
| 10573 |
Chantrey gft, no. 126; EfcAc/ Rcee¢.„¢.jce„cer, no.
|
| 10574 |
41; I.arc Poole, no. 638.
|
| 10575 |
Marble serves as monument in Chevening,
|
| 10576 |
Kent (N. 8. Penny, C¢"rc47 Mo##coc"£r ¢.„
|
| 10577 |
Roow¢»f;c E"g/a"d (New Haven, Conn., and
|
| 10578 |
London, 1977), 120, pl. 90). Commissioned
|
| 10579 |
1823, completed 1827 (RA Ledger, p.150).
|
| 10580 |
The monument is wrongly said by Fisher in
|
| 10581 |
Efc4cd RGovG."¢.fGe~cff to be at Chievling
|
| 10582 |
Church and by IAne Poole to be at Chieveley
|
| 10583 |
Church, Bcrkshire. I.ady Stanhope was the
|
| 10584 |
daughter of the earl of Mansfield and wife of
|
| 10585 |
@@PROCESS
|
| 10586 |
222
|
| 10587 |
the Hon. James, son of the first Earl
|
| 10588 |
Stanhope. She died in childbed and the
|
| 10589 |
monument depicted her with her child at her
|
| 10590 |
breast.
|
| 10591 |
@@PROCESS
|
| 10592 |
661. Jessie Anne Letitia, Mrs Thomas
|
| 10593 |
Taylor VERNON, with her two sons
|
| 10594 |
(d. 1840)
|
| 10595 |
@@PROCESS
|
| 10596 |
147 cms. (height); 103,5 cms. (width); 27.5
|
| 10597 |
cms. (depth of base)
|
| 10598 |
Chipped at edges of base, especially in proper right
|
| 10599 |
comer, also on the drapery of the kneeling child and
|
| 10600 |
on upper edge. Uncleaned. FlaLking and scratched,
|
| 10601 |
Chantrey aft, no. 139; Efcded RGowG."¢.fcc»cGf, no.
|
| 10602 |
50; I.anc Poole, no. 651.
|
| 10603 |
The relief served as a monument to Mrs
|
| 10604 |
Vemon's husband (d. 1835) at Hanbury,
|
| 10605 |
Worcestershire. Commissioned 1836,
|
| 10606 |
completed 1839 (RA Ledger, p. 279). The
|
| 10607 |
porrfut of Mrs Vernon and her sons is
|
| 10608 |
obviously idealized.
|
| 10609 |
@@PROCESS
|
| 10610 |
662. George WASHINGTON
|
| 10611 |
(1732-99)
|
| 10612 |
43.8 cms. (height); 54.5 cms. (width)
|
| 10613 |
Head and shoulders. Sawn through the upper chest.
|
| 10614 |
From a full,length standing portrait. Chips missing
|
| 10615 |
at the sawn edge. Uncleaned. Extensive flaking.
|
| 10616 |
Chantrey aft, no. 142; Efcded Rcow¢."!.fcc"ccf, no.
|
| 10617 |
11; Lane Poolc, no. 654.
|
| 10618 |
The marble is in the State House, Boston,
|
| 10619 |
Massachusetts. Commissioned 1819, paid for
|
| 10620 |
1827 (RA Ledger, no. 102), exhibited Royal
|
| 10621 |
Academy 1826 (no.1071). A full account of
|
| 10622 |
the commission is given in i4# B#//cty.» (June
|
| 10623 |
ig89), 254nd8.
|
| 10624 |
@@PROCESS
|
| 10625 |
663. James WATT (1736-1819)
|
| 10626 |
40.4 cms. (height); 40.8 cms. (width)
|
| 10627 |
Head and shoulders. Sawn through chest. From a
|
| 10628 |
full-length seated statue. Chips missing from the
|
| 10629 |
sawn edge. Some shallow prelimimry sawing cuts.
|
| 10630 |
Unclcancd. Flaking.
|
| 10631 |
Chantrey Sft, no. 144; Efded RG„;.%j.fce7ecef, no.
|
| 10632 |
8; hone Poolc, no. 656+
|
| 10633 |
OriSnal marble version serves as a monument
|
| 10634 |
in Handsworth Church, Birmingham (N. 8.
|
| 10635 |
Penny , Church Monunen:Ss in Romantic
|
| 10636 |
Erg/¢„¢ (New Haven, Conn., and I.ondon,
|
| 10637 |
1977), 198-201, pls. 142 and 143); replicas
|
| 10638 |
in marble for the Huntcrian Museum,
|
| 10639 |
Glasgow University, and Greenoch, and in
|
| 10640 |
bronze for Glasgow, and enlarged in marble
|
| 10641 |
for Westminster Abbey (now in the crypt of
|
| 10642 |
St Paul's Cathedral). Original marble
|
| 10643 |
commissioned 1820, completed 1824 (RA
|
| 10644 |
@@PROCESS
|
| 10645 |
657
|
| 10646 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10647 |
@@PROCESS
|
| 10648 |
665
|
| 10649 |
@@PROCESS
|
| 10650 |
666
|
| 10651 |
fof;i/
|
| 10652 |
I.edger, p. 124), exhibited Royal Academy
|
| 10653 |
1824 (no. 1010). Watt was the most famous
|
| 10654 |
British inventor and engineer of his period.
|
| 10655 |
@@PROCESS
|
| 10656 |
664, 665, and 666. David Pike
|
| 10657 |
WATTS, his daughter, and an infant
|
| 10658 |
(1754-1816)
|
| 10659 |
25.6 cms. (height of fragment of watts, 664);
|
| 10660 |
38.8 cms. (height of fragment of Maria Watts
|
| 10661 |
Russell, 665); 13.9 cms. (height of fragment of
|
| 10662 |
infant, 666)
|
| 10663 |
(664) Head. Sawn through the neck. From a full-length
|
| 10664 |
reclining figure. Uncleancd. Sheuac is
|
| 10665 |
unusually ruddy.
|
| 10666 |
(665) Head, shoulders, and part of proper left hand.
|
| 10667 |
Sawn through the hand and bosom. From a full-length
|
| 10668 |
kneeling figure. Chips missing from the sawn
|
| 10669 |
edge. Part of the middle finger broken off.
|
| 10670 |
Unclcancd. Points visible in hair. Flaking chiefly on
|
| 10671 |
face.
|
| 10672 |
(666) Part of head and drapery. Sawn through
|
| 10673 |
check diagonally. From the whole-length standing
|
| 10674 |
infant pressed against Mrs Watts Russcu.s side.
|
| 10675 |
Uncleaned.
|
| 10676 |
Cho[\:tray Stt, i\o. \45S Etched Reminiscences, no.
|
| 10677 |
35; Ime Pcole, no. 657.
|
| 10678 |
Marble group of David Pike Watts on his
|
| 10679 |
deathbed blessing his daughter Mrs Watts
|
| 10680 |
Russell, who kneels beside him with three
|
| 10681 |
children, is in llam Church, Derbyshire (N.
|
| 10682 |
8. Pc;:r\ny , Cbt4rch Monuments in Romantic
|
| 10683 |
E„4/¢"d (New Haven, Conn., and I.ondon,
|
| 10684 |
1977), 80-5, pl. 61). Commissioned 1816,
|
| 10685 |
completed 1827, paid for 1829 (RA Ijedgcr,
|
| 10686 |
p. 64), but erected 1826 (according to
|
| 10687 |
inscription).
|
| 10688 |
@@PROCESS
|
| 10689 |
667 and 668. Mourners of James
|
| 10690 |
WILDAEN (d. c.1817)
|
| 10691 |
30.4 cms. (height of fragment of female
|
| 10692 |
mourner, 667); 52.3 cms. (height of fragment
|
| 10693 |
of male moumcr, 668)
|
| 10694 |
(667) Head, proper left forearm, and proper right
|
| 10695 |
shoulder. Sawn across shoulders and arm. From a
|
| 10696 |
full-length scatcd figure. Uncleaned. Extensive
|
| 10697 |
flaking.
|
| 10698 |
(668) Head and shoulders. Sawn across upper chest
|
| 10699 |
and cut vcll:ically through proper right arm. From
|
| 10700 |
a full-length seated figure. Head dcl:achable.
|
| 10701 |
Uncleancd. Unusually red in colour. Extensive
|
| 10702 |
flaking. The vertical cut is oritinal.
|
| 10703 |
Cl\antrey gLft` no. 67; Etched Reminiscences, Ilo.
|
| 10704 |
33.
|
| 10705 |
Marble group of a male and female moumer
|
| 10706 |
beside a sarcophagus (another younger
|
| 10707 |
female with her head buried in the lattcr's lap)
|
| 10708 |
@@PROCESS
|
| 10709 |
668 is in chi|ham church, Kent, commemorating
|
| 10710 |
James Wildman. Commissioned 1817, paid
|
| 10711 |
for 1820 (RA Ledger, p. 273). The portraits,
|
| 10712 |
presumably of the deceascd's children and
|
| 10713 |
grandchildren, are obviously idealizcd and are
|
| 10714 |
not included in I.ane Poole.
|
| 10715 |
@@PROCESS
|
223
|
| 10717 |
|
| 10718 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10719 |
@@PROCESS
|
| 10720 |
669. Sir Ralph WOODFORD
|
| 10721 |
(d. c.1835)
|
| 10722 |
37.8 cms. (height)
|
| 10723 |
Head, collar, and part of right hand. Sawn across
|
| 10724 |
collar and hand. From a full-lcngth reclining figure.
|
| 10725 |
Chips missing from back of collar, front of collar,
|
| 10726 |
the hair, the left nostril. Points visible. Partially
|
| 10727 |
clcancd by Rachel Kcnward. Painted in a white
|
| 10728 |
across back of collar. `WooDFORD'. A separately
|
| 10729 |
cast unit.
|
| 10730 |
Etched Runiniscences, rio. 57 .
|
| 10731 |
Marble serves as a monument in Trinidad
|
| 10732 |
Cathedral. Commissioned 1835, completed
|
| 10733 |
1839 (RA Ledger, p. 273). The head may
|
| 10734 |
well have been detached from the body
|
| 10735 |
previous to the destruction of the statues in
|
| 10736 |
1938 and this would explain the identification
|
| 10737 |
on the back. If it was put away in a cupboard
|
| 10738 |
after such an accident then that would explain
|
| 10739 |
its omission from I.anc Poole's catalogue.
|
| 10740 |
@@PROCESS
|
| 10741 |
670. Female mourner
|
| 10742 |
27 cms. (length)
|
| 10743 |
Head, shoulders, and arms. Sawn across upper back
|
| 10744 |
and through the drapery below the arms. From a
|
| 10745 |
full-length kneeling figure leaning on a block.
|
| 10746 |
Fingers of the proper left hand broken. Unclcaned.
|
| 10747 |
Flaking. The body is solid.
|
| 10748 |
Etched Reminiscences, no. 45.
|
| 10749 |
Identified as `A Monumcnt' in the Efc4ed
|
| 10750 |
RG„¢.„;rcc„cef this idealized figure was
|
| 10751 |
doubtless employed, possibly more than once,
|
| 10752 |
as a church monument by Chantrey.
|
| 10753 |
@@PROCESS
|
| 10754 |
671. Male and female moumers by
|
| 10755 |
an urn
|
| 10756 |
@@PROCESS
|
| 10757 |
168 cms. (height); 112 cms. (length); 26 cms.
|
| 10758 |
(width at base)
|
| 10759 |
Base somcwha.t chipped. Uncleaned. Flaking and
|
| 10760 |
surface scratches. `8' painted in black on front face
|
| 10761 |
of plinth to proper right. Cuts on the necks look
|
| 10762 |
like preliminaries to decapitation subscqucntly
|
| 10763 |
abandoned.
|
| 10764 |
Chantrey aft, no. 8; Efc4cd RGow¢.„!.jccoccf, no. 49.
|
| 10765 |
Identified as a `monumental design' in the
|
| 10766 |
Efc¢cd Rcow®."G.fcG„cef this must have been
|
| 10767 |
projected, and was probably employed, as a
|
| 10768 |
church monument by Chantrey, perhaps on
|
| 10769 |
more than one occasion.
|
| 10770 |
@@PROCESS
|
| 10771 |
224
|
| 10772 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10773 |
@@PROCESS
|
| 10774 |
672. Brace of woodcocks
|
| 10775 |
@@PROCESS
|
| 10776 |
120 cms. (height); 47.3 cms. (length); 17.4 cms.
|
| 10777 |
(width)
|
| 10778 |
Chipped on crowning scroll to proper right and in
|
| 10779 |
the centre, also at lower comers. Unclcancd.
|
| 10780 |
Incised in model and reinforced in the plaster in
|
| 10781 |
neat capitals: `Two Woodcocks/killed at
|
| 10782 |
Hollcham/Nov. 1830/By Francis Chantrey,
|
| 10783 |
sculptor/At one shot!/Prescntcd to Thos Win.
|
| 10784 |
Coke Esq 1834'.
|
| 10785 |
Etched Reminiscences, rro. 6.
|
| 10786 |
The marble, dated 1834, is at Hollcham Hall
|
| 10787 |
(Potts, no. 29). Modelled 1833 and
|
| 10788 |
presented 1834 (RA I.cdger, p. 257).
|
| 10789 |
@@PROCESS
|
| 10790 |
673. Hector recommending his son to
|
| 10791 |
the Protection Of the gods
|
| 10792 |
@@PROCESS
|
| 10793 |
186 cms. (height); 144 cms. (length); 24 cms.
|
| 10794 |
(width at base)
|
| 10795 |
The plinth shattered at comers of base. Many
|
| 10796 |
fragments rcmaln. Numerous chips missing from
|
| 10797 |
cdgcs. Sawn line through Andromache's neck. The
|
| 10798 |
tip of nose of the nurse has been broken off, also
|
| 10799 |
the proper right thumb of Astyanax. Uncleaned.
|
| 10800 |
Flaking.
|
| 10801 |
Etched Reminiscences, rro. q7 .
|
| 10802 |
The marble, dated 1828, is in the sculpture
|
| 10803 |
gallery at Woburn Abbey. Commissioned by
|
| 10804 |
the sixth duke of Bedford.
|
| 10805 |
@@PROCESS
|
| 10806 |
674. PenelopeJs rehactance to prodttce
|
| 10807 |
the bow Of Ulysses
|
| 10808 |
@@PROCESS
|
| 10809 |
185 cms. (height); 146 cms. (length); 24 cms.
|
| 10810 |
(width at base)
|
| 10811 |
Numerous chips missing from edges of the base.
|
| 10812 |
The bowstring is made of jute dipped in plaster.
|
| 10813 |
The index finger of Pcnclope's left hand broken off,
|
| 10814 |
also the tip of the thumb of her other hand
|
| 10815 |
(prcscrved). Unclcaned. Flaking. `Penelope' is
|
| 10816 |
painted in black on front face of plinth. `Across her
|
| 10817 |
knees she laid the well-worn brow/And pcnsivc sat,
|
| 10818 |
and tears began to flow', from Pope's translation
|
| 10819 |
of Homer's I/¢.¢d (Book XXI), now only legible in
|
| 10820 |
the first half of the first line, is incised in the model
|
| 10821 |
on the ffont face of base to proper right.
|
| 10822 |
Paper label, no. 172; E4cded RccoS.#S+cc7ccef, no. 48.
|
| 10823 |
The marble, dated 1828, is in the sculpture
|
| 10824 |
gallery at Wobum Abbey. Commissioned by
|
| 10825 |
the sixth duke of Bcdford.
|
| 10826 |
@@PROCESS
|
| 10827 |
675. Head Of a young woman
|
| 10828 |
18.5 cms, (height)
|
| 10829 |
Sawn across neck. Chips missing from the point of
|
| 10830 |
the nose, from some of the curls, and from the
|
| 10831 |
neck. Unclcancd. Flaking. Solid cast.
|
| 10832 |
The head cannot be identified for certain with
|
| 10833 |
any sculpture by Chantrey and is unusual in
|
| 10834 |
style.
|
| 10835 |
EL:+u,ITS,:,i,i!;,,rd,;i,,,
|
| 10836 |
@@PROCESS
|
225
|
| 10838 |
|
| 10839 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10840 |
PART 11
|
| 10841 |
Bust portraits
|
| 10842 |
@@PROCESS
|
| 10843 |
676. John Hamilton, lst marquess
|
| 10844 |
ofABERCORN (1756-1818)
|
| 10845 |
74 cms. (height including socle); 12.6 cms.
|
| 10846 |
(height of socle)
|
| 10847 |
Bust cleaned by Mohammcd Salch. Some flaking
|
| 10848 |
shellac rcmalns. The socle unclcaned and loose.
|
| 10849 |
Points visible on neck. Name painted on socle.
|
| 10850 |
Chantrey gift, no. I; paper label, no. 35; I.one
|
| 10851 |
Poolc, no. 513.
|
| 10852 |
Commissioned by the 4th earl of Aberdecn
|
| 10853 |
1820, paid for 1826, completed 1834 (RA
|
| 10854 |
I.edger, p. 120). Marble version dated 1823
|
| 10855 |
at Haddo House, Abcrdcen, companion with
|
| 10856 |
one of I,ord Abcrdeen.
|
| 10857 |
@@PROCESS
|
| 10858 |
677. Dr John ABERNETHY
|
| 10859 |
(1764-1831)
|
| 10860 |
74,6 cms, (height including socle); 13 cms.
|
| 10861 |
(height of soclc)
|
| 10862 |
Bust cleaned (to plaster) by Mohammed Saleh. The
|
| 10863 |
socle unclcaned. Name painted on socle.
|
| 10864 |
Chantrey 5ft, no. 2; paper label, no. 93; I.ane
|
| 10865 |
Poole, no. 514.
|
| 10866 |
Marble in the Royal College of surgeons,
|
| 10867 |
I.ondon, dated 1833. Commissioned 1831,
|
| 10868 |
completed 1834, paid for 1835 (RA Ijedger,
|
| 10869 |
p. 234). Abemethy was an eminent surgeon,
|
| 10870 |
anatomist, and physiologist.
|
| 10871 |
@@PROCESS
|
| 10872 |
678. Dr James ANDERSON
|
| 10873 |
(d. 1809)
|
| 10874 |
54.5 cms. (height including soclc); 9.5 cms.
|
| 10875 |
(height of socle)
|
| 10876 |
Bust cleaned by Mohammed Saleh. The socle
|
| 10877 |
unclcaned. Cracks across upper chest and neck and
|
| 10878 |
rear of head. Chip missing from proper right nostril.
|
| 10879 |
Name painted on socle.
|
| 10880 |
Chantrey ctft, no. 4; paper label. no. 61; I.anc
|
| 10881 |
Poole, no. 516.
|
| 10882 |
The marble was presented by an unknown
|
| 10883 |
donor to the Museum of Modern Art in
|
| 10884 |
Palazzo Pitti, Florence (Cat. sen. 703).
|
| 10885 |
Commissioncd 1819, completed and paid for
|
| 10886 |
1820 (RA Ledger, p. 42). The portrait was
|
| 10887 |
presumably posthumous. Anderson had been
|
| 10888 |
Physician-General to the East India Company
|
| 10889 |
at Madras.
|
| 10890 |
@@PROCESS
|
| 10891 |
226
|
| 10892 |
@@PROCESS
|
| 10893 |
679. Henry William Paget,
|
| 10894 |
lst marquess of ANGLESEY
|
| 10895 |
(1768-1854)
|
| 10896 |
76.2 cms. (height including socle); 15.3 cms.
|
| 10897 |
(height of socle)
|
| 10898 |
Bust cleaned by Mohammed Saleh. The socle
|
| 10899 |
uncleaned. Chip missing from point of nose and
|
| 10900 |
from lower moulding of soclc. Name painted on
|
| 10901 |
socle.
|
| 10902 |
Chantrey Sft, no. 6; Iame Poolc, no. 518.
|
| 10903 |
Marble at Plas Newydd, Antlesey, dated
|
| 10904 |
1816. Commissioned 1815, paid for 1816
|
| 10905 |
(RA Ledger, p. 41 ), exhibited Royal Academy
|
| 10906 |
1816 (No. 952).
|
| 10907 |
@@PROCESS
|
| 10908 |
680. Sir Joseph BANKS Bt.
|
| 10909 |
(1743-1820)
|
| 10910 |
54.4 cms. (height)
|
| 10911 |
Bust cleaned by Mohammed Saleh. Both comers
|
| 10912 |
of front of squared-off chest chipped. Scratches
|
| 10913 |
above proper right eyebrow. Points visible. Vestiges
|
| 10914 |
of name painted on recessed band of chest.
|
| 10915 |
Chantrey aft, no. 8; I.ane Poolc, no. 520.
|
| 10916 |
Marble signed and dated 1819 in Royal
|
| 10917 |
Society of Arts, I.ondon, presented by
|
| 10918 |
sculptor 1819. Commissioned 1814,
|
| 10919 |
completed by 1819 (RA Ledger, p. 40);
|
| 10920 |
exhibited at the Royal Academy 1816 (no.
|
| 10921 |
@@PROCESS
|
| 10922 |
953, presumably as a plaster) and 1818 (no.
|
| 10923 |
1105, presumably as a marble). Potts, no.17.
|
| 10924 |
For Banks see No. 623. Gunnis records a
|
| 10925 |
replica of the original marble at Petworth.
|
| 10926 |
@@PROCESS
|
| 10927 |
681. Shute BARRINGTON, bishop
|
| 10928 |
of Durham ( 1734-1826)
|
| 10929 |
56.I cms. (height)
|
| 10930 |
Bust clcancd by Mohammed Saleh. Unusually heavy
|
| 10931 |
cast. Incised on the back in the model: `Bishop of
|
| 10932 |
Durhan/Aetat 89/-1822'.
|
| 10933 |
Chantrey Sft, no. 10; hanc Poole, no. 522.
|
| 10934 |
Marble dated 1825 in Manchester City An
|
| 10935 |
Gallery. See also No. 624.
|
| 10936 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10937 |
@@PROCESS
|
| 10938 |
683
|
| 10939 |
@@PROCESS
|
| 10940 |
682. Colonel Seymour Thomas
|
| 10941 |
BATHURST ( 1795-1834)
|
| 10942 |
79.2 cms. (height including socle); 14.3 cms.
|
| 10943 |
(height of soclc)
|
| 10944 |
Bust cleaned by Mohammcd Salch. Some shellac
|
| 10945 |
remains. I.ock of hair broken off to proper right.
|
| 10946 |
Points on chest. Name painted on socle (this area
|
| 10947 |
left uncleaned).
|
| 10948 |
Chantrey gift, no. 12; Ime Poolc, no. 524.
|
| 10949 |
Marble bust in collection of Lord Bathurst,
|
| 10950 |
Cirencester Park, dated 1836. Commissioned
|
| 10951 |
1834, completed 1836, paid for 1837 (RA
|
| 10952 |
I.cdger, p. 260).
|
| 10953 |
@@PROCESS
|
| 10954 |
683. Edward BIRD RA
|
| 10955 |
(1772-1819)
|
| 10956 |
55.4 cms. (height including socle); 13 cms.
|
| 10957 |
(height of soclc, including name tablet)
|
| 10958 |
Bust cleaned. Crack across chest repaired. Extcnsivc
|
| 10959 |
repairs to soclc. `E. BIRD. RA.' incised in model on
|
| 10960 |
lower edge of chest and `CIIANTREy/
|
| 10961 |
scuLFTOR/1816' incised in model on back.
|
| 10962 |
Chantrey aft, no. 14; I.anc Poole, no. 526.
|
| 10963 |
Exhibited at the Royal Academy 1817 (no.
|
| 10964 |
1061 ). A plaster cast is in the National
|
| 10965 |
Portrait Gallery (no. 986), another in the City
|
| 10966 |
Art Gallery and Museum, Bristol (according
|
| 10967 |
to Gunnis). Bird was a painter chiefly of genre
|
| 10968 |
subjects.
|
| 10969 |
@@PROCESS
|
| 10970 |
684. Sir William BLIZARD
|
| 10971 |
(1743-1835)
|
| 10972 |
74.3 cms. (height including socle); 12,1 cms.
|
| 10973 |
(height of socle)
|
| 10974 |
Cleaned (to plaster) by Mohammed Saleh. Some
|
| 10975 |
chellac and paint remains. Points visible. Small chip
|
| 10976 |
missing from drapery. Scratch on brow.
|
| 10977 |
Chantrey aft, no. 15; I.one Poolc, no. 527.
|
| 10978 |
Marble bust in the Royal College of surgeons,
|
| 10979 |
London, dated 1816. Commissioned 1815,
|
| 10980 |
exhibited Royal Academy 1816 (no. 960)
|
| 10981 |
(Potts, no. 17). A second version
|
| 10982 |
commi§sioned 1820, completed 1825, for the
|
| 10983 |
Ilondon Hospital (RA I.cdger, p.119).
|
| 10984 |
Blizard was twice President of the Royal
|
| 10985 |
College of surgeons and was co-founder of
|
| 10986 |
the London Hospital Medical School.
|
| 10987 |
@@PROCESS
|
227
|
| 10989 |
|
| 10990 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 10991 |
@@PROCESS
|
| 10992 |
685. Sir Francis BURDETT Bt. MP
|
| 10993 |
(1770-1844)
|
| 10994 |
69.3 cms. (height including socle); 12.7 cms.
|
| 10995 |
(hcightofsocle)
|
| 10996 |
Cleaned by Mohammed Saleh. Superficial chip
|
| 10997 |
missing from drapery to proper right. `Modelled
|
| 10998 |
by/F. L. Chantrey/published Scpt.I.1810' incised
|
| 10999 |
in model on back.
|
| 11000 |
Chantrey rift, no. 18; hanc Poole, no. 530,
|
| 11001 |
Exhibited at the Royal Academy 1811 (no.
|
| 11002 |
@@PROCESS
|
| 11003 |
950). The copyright date suggests that the
|
| 11004 |
model was oriSnally made in preparation not
|
| 11005 |
for a marble but for an edition of plaster
|
| 11006 |
casts. Burdett was the Radical Member of
|
| 11007 |
Parliament for Westminster and in 1810,
|
| 11008 |
owing to his imprisonment in the Tower of
|
| 11009 |
h)ndon in the cause of Freedom of Speech,
|
| 11010 |
was a popular hero in I,ondon. Chantrey
|
| 11011 |
seems also to have published casts of
|
| 11012 |
Burdett's radical ally Home Tooke (see No.
|
| 11013 |
@@PROCESS
|
| 11014 |
773).
|
| 11015 |
@@PROCESS
|
| 11016 |
686. `Mr. Justice BURTON' (dates
|
| 11017 |
unknown)
|
| 11018 |
54.8 cms. (height)
|
| 11019 |
Uncleaned. large chip missing from cdgc of proper
|
| 11020 |
left shoulder and smaller one from chest to lower
|
| 11021 |
right edge. Name painted to proper right of edge
|
| 11022 |
of chest (`Mr Justice Burton' ).
|
| 11023 |
Chantrey dft, no. 19; paper label, no. 10; I.one
|
| 11024 |
Poole, no. 531.
|
| 11025 |
Commissioned 1824, completed and paid for
|
| 11026 |
1825 (RA Ledger, p. 172). lane Poole
|
| 11027 |
conjectured that this was Charles Burton,
|
| 11028 |
Justice of the King's Bench,1820.
|
| 11029 |
@@PROCESS
|
| 11030 |
687. John J. Pratt, lst Marquess
|
| 11031 |
CAMDEN (1759-1814)
|
| 11032 |
76.1 cms. (height); 12.7 cms. (height of socle)
|
| 11033 |
Cleaned by Mohammed Saleh with exception of
|
| 11034 |
patch around inscription on socle. Some shellac
|
| 11035 |
remains. Points visible. Vestiges of na.me painted
|
| 11036 |
on soclc.
|
| 11037 |
Chantrcy Sft, no. 20; Ime Poolc, no. 532.
|
| 11038 |
Marble bust in the National Portrait Gallery,
|
| 11039 |
dated 1835 (no. 5241). Commissioned
|
| 11040 |
1833; completed and paid for 1836 (RA
|
| 11041 |
Ledger, p. 259). Gunnis records a. bust at
|
| 11042 |
Bayham Abbey, Kent.
|
| 11043 |
@@PROCESS
|
| 11044 |
688. George CANNING
|
| 11045 |
(1770-1827)
|
| 11046 |
72.4 cms. (height including soclc); 13.I cms.
|
| 11047 |
(height of socle)
|
| 11048 |
Cleaned by Mohammed Saleh. Some shellac
|
| 11049 |
remains. Fine cracks on the neck and chin where
|
| 11050 |
repaired. Points visible.
|
| 11051 |
Chantrey Sft, no. 21; I,are Poole, no. 533.
|
| 11052 |
@@PROCESS
|
| 11053 |
228
|
| 11054 |
Marble bust in the National Portra.it Gallery,
|
| 11055 |
I/)ndon, dated 1821 (no. 282), another at
|
| 11056 |
Chatsworth, dated 1826. The first of these
|
| 11057 |
commissioned 1818, completed and paid for
|
| 11058 |
1820 (RA Ledger, p. 88). Canning was a
|
| 11059 |
leading Tory pohitician. See also Nos. 637,
|
| 11060 |
@@PROCESS
|
| 11061 |
638. There is a variant with a different style
|
| 11062 |
of drapery in the National Museum of wales,
|
| 11063 |
Cardiff, dated 1819, on the Committee Stairs
|
| 11064 |
of the Palace ofwestminstcr and in the Fclton
|
| 11065 |
Bequest at the National Gallery of victoria,
|
| 11066 |
Melbourne.
|
| 11067 |
@@PROCESS
|
| 11068 |
689. Robert Stewart, Viscount
|
| 11069 |
CASTLEREAGH ( 1769-1822 )
|
| 11070 |
75,2 cms. (height including socle); 12.7 cms.
|
| 11071 |
(height of socle)
|
| 11072 |
Cleaned by Mohammcd Salch. large chip missing
|
| 11073 |
fi.om front base of soclc. Scratches on the proper
|
| 11074 |
left shoulder. Points visible.
|
| 11075 |
Chantrey aft, no. 24; I.ane Poolc, no. 536.
|
| 11076 |
Marble busts in the National Portrait Gallery,
|
| 11077 |
London, dated 1822 (no. 687), Windsor
|
| 11078 |
Castle, also dated 1822, the Paul Mellon
|
| 11079 |
Center, New Haven, dated 1828, and at
|
| 11080 |
Powis Castle and Stratfield Saye ( both
|
| 11081 |
undated and perhaps studio replicas). A
|
| 11082 |
plaster cast at Cirencester Park.
|
| 11083 |
Commissioned 1820, completed and paid for
|
| 11084 |
1822 (RA I.cdgcr, p. 125). Ca§tlereagh
|
| 11085 |
served in successive Tory govemmcnts as
|
Chief Secretary for Ireland and then I.ord-
|
| 11087 |
Lieutenant of Ireland, as Secretary of war
|
| 11088 |
and then, 1812-22, as Foreign Secretary.
|
| 11089 |
@@PROCESS
|
| 11090 |
690. Thomas Otway CAVE
|
| 11091 |
(1797-1830)
|
| 11092 |
77.5 cms. (height including socle); 13.6 cms.
|
| 11093 |
(height of socle)
|
| 11094 |
Cleaned and shellac renewed by Rachel Kenward.
|
| 11095 |
Chip missing from collar to proper right.
|
| 11096 |
Nuncrous points visible.
|
| 11097 |
Chantrey dft, no. 25; lane Poole, no. 537.
|
| 11098 |
Marble at Stan ford Hall ( Leicestershire).
|
| 11099 |
Commissioncd 1831, completed and paid for
|
| 11100 |
1832 (RA Ledger, p. 235). The bust has
|
| 11101 |
previously been identified as a portrait of
|
| 11102 |
Robert Otway Cave. Thomas was a Major in
|
| 11103 |
the army.
|
| 11104 |
@@PROCESS
|
| 11105 |
685
|
| 11106 |
@@PROCESS
|
| 11107 |
687
|
| 11108 |
I,ch..,ij.:2,`,,,,,``
|
| 11109 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11110 |
i.,.,t#,'Fit\
|
| 11111 |
@@PROCESS
|
| 11112 |
692
|
| 11113 |
@@PROCESS
|
| 11114 |
691. Sir Charles Mansfield CIARKE
|
| 11115 |
Bt. MD (1782-1857)
|
| 11116 |
71.7 cms. (height including socle); 13.7 cms.
|
| 11117 |
(height of soclc)
|
| 11118 |
Clcancd by Moha.mmed Salch. Points visible.
|
| 11119 |
Chantrey tlft, no. 26; Idnc Poolc, no. 538.
|
| 11120 |
Marble, dated 1840, lot 320, Sothcby's,
|
| 11121 |
London, 12 December 1985. Commenced
|
| 11122 |
1833, completed 1840 (RA Ledger, p. 262),
|
| 11123 |
exhibited at Royal Academy 1840 (no. 1199).
|
| 11124 |
The marble bust was presented by Chantrey
|
| 11125 |
to the sitter `as a mark of estecm', perhaps
|
| 11126 |
also in gratitude for medical advice.
|
| 11127 |
@@PROCESS
|
| 11128 |
692. Dr Henry CLINE
|
| 11129 |
(1750-1827)
|
| 11130 |
73.7 cms. (height, including socle); 12.6 cms.
|
| 11131 |
(heightofsoclc)
|
| 11132 |
Cleaned by Mohammcd Salch.. Some traces of
|
| 11133 |
shellac remain in face and hair. Vestidal scans,
|
| 11134 |
most evident in the hair. Made from the complctcd
|
| 11135 |
marble rather than the origival clay model. The cast
|
| 11136 |
rcproduccs the chiselled text on the colunnar
|
| 11137 |
support behind the chest in the marble `HENRy
|
| 11138 |
CLINE/F CHANTREY SC./1825'.
|
| 11139 |
Chantrey dft, no. 27; I.one Poole, no. 539.
|
| 11140 |
Marble in the Royal College of surgeons
|
| 11141 |
dated 1825. Commjssioned 1824, completed
|
| 11142 |
by 1826, paid for 1827 (RA Ifdger, p. 165).
|
| 11143 |
A bust of Cline, possibly from the same
|
| 11144 |
model, exhibited Royal Academy 1813 (no.
|
| 11145 |
@@PROCESS
|
| 11146 |
934). Cline was Master of the College of
|
| 11147 |
Surgeons in 1815 and President in 1823. An
|
| 11148 |
earlier bust of the same sitter, dated 1813, is
|
| 11149 |
in St Thomas's Hospital.
|
| 11150 |
@@PROCESS
|
| 11151 |
693. Admiral Sir Edward
|
| 11152 |
CODRINGTON ( 1770-1851)
|
| 11153 |
71.2 cms. (height, including socle); 13.8 cms.
|
| 11154 |
(heightofsorlc)
|
| 11155 |
Unclcancd. Flaking extensively. Name painted on
|
| 11156 |
socle.
|
| 11157 |
Chantrey Sft, no. 28; I.anc Poolc, no. 540.
|
| 11158 |
Commissioned 1817 (RA I.cdgcr, p. 56),
|
| 11159 |
exhibited Royal Acadcny 1819 (no.1221).
|
| 11160 |
Codrington was a notable naval commander
|
| 11161 |
during the Napoleonic Wars, made
|
| 11162 |
Commander-in-Chief of the Mediterranean
|
| 11163 |
Fleet in 1826 during the war of Greek
|
| 11164 |
Independence but was recalled in
|
| 11165 |
controversial circumstances in 1828, made
|
| 11166 |
Admiral of the Blue in 1837.
|
| 11167 |
@@PROCESS
|
229
|
| 11169 |
|
| 11170 |
AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11171 |
@@PROCESS
|
| 11172 |
695
|
| 11173 |
@@PROCESS
|
| 11174 |
230
|
| 11175 |
@@PROCESS
|
| 11176 |
694. Henry Thomas
|
| 11177 |
COLEBROOKE ( 1765-1837)
|
| 11178 |
71.3 cms. (height, including socle); 13.4 cms.
|
| 11179 |
(height of socle)
|
| 11180 |
Cleaned by Mohammed Saleh. Rcpalrcd crack
|
| 11181 |
across the proper left shoulder. Crack in the back
|
| 11182 |
of the soclc. Points visible.
|
| 11183 |
Chantrey dft, no. 29; I.ane Poole, no. 541.
|
| 11184 |
Marble, dated 1820, in the India Office,
|
| 11185 |
London (according to Gunnis).
|
| 11186 |
Commissioned 1819, completed 1820, paid
|
| 11187 |
for 1823 (RA I.edger, p. 98). Colebrook was
|
| 11188 |
President of the Court of Appeal at Calcutta
|
| 11189 |
and a noted scholar of Sanskrit.
|
| 11190 |
@@PROCESS
|
| 11191 |
695. Henry COWPER ( 1758-1840)
|
| 11192 |
70.4 cms. (height, including soclc); 14.3 cms.
|
| 11193 |
(height of soclc)
|
| 11194 |
Uncleancd. Slightly flaking. Small perforation in
|
| 11195 |
rear of soclc. Name painted on soclc.
|
| 11196 |
Chantrcy rift, no. 31; Ijmc Poolc, no. 543.
|
| 11197 |
Marble in the Victoria and Albert Museum.
|
| 11198 |
Commissioned 1823, completed and paid for
|
| 11199 |
1827 (RA Ledger, p. 165). Cowpcr wias Clerk
|
| 11200 |
of the House of I.ords.
|
| 11201 |
@@PROCESS
|
| 11202 |
696. John Philpot CURRAN
|
| 11203 |
(1750-1817)
|
| 11204 |
56.7 cms. (height, including socle); 11.7 cms.
|
| 11205 |
(height of soclc)
|
| 11206 |
Uncleancd. Socle repaired and refixed by Kathlecn
|
| 11207 |
Kimber and flakcd areas touched in by Christine
|
| 11208 |
Gormley in Scptembcr 1989.
|
| 11209 |
@@PROCESS
|
| 11210 |
697 Chantrey Sft, no. 32; former paper label, no. 42;
|
| 11211 |
Lenc Poole, no. 544.
|
| 11212 |
Exhibited Royal Academy 1812 (no. 898).
|
| 11213 |
Curran was Master of the Rolls in Ireland.
|
| 11214 |
Lent to the National Trust, Belton House,
|
| 11215 |
Iincolrishire, December 1989.
|
| 11216 |
@@PROCESS
|
| 11217 |
697. Sir William CURTIS Bt.
|
| 11218 |
(1752-1829)
|
| 11219 |
77.8 cms. (height, including soclc); 13.8 cms.
|
| 11220 |
(height of soclc)
|
| 11221 |
Uncleancd. Flaking in a small area of proper left
|
| 11222 |
temple. Name painted on soclc.
|
| 11223 |
Chantrey dft, no. 33; paper label, no. 44; I.anc
|
| 11224 |
Poolc, no. 545.
|
| 11225 |
Commissioncd 1827, paid for 1828,
|
| 11226 |
completed 1829 (RA Ledger, p. 189).
|
| 11227 |
Exhibited at the Royal Academy 1828 (no.
|
| 11228 |
1170). Curtis was I,ord Mayor of I.ondon.
|
| 11229 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11230 |
@@PROCESS
|
| 11231 |
698. John DALTON DCL
|
| 11232 |
(1766-1844)
|
| 11233 |
61.2 cms. (height, including soclc); 11.9 cms.
|
| 11234 |
(height of socle)
|
| 11235 |
Unclcaned. Crack between soclc and bust rcpalrcd.
|
| 11236 |
Chip on proper right shoulder. Small chips on sides
|
| 11237 |
of chest, also on proper left car. Minor flaking and
|
| 11238 |
chips touched in by Christine Gormley in
|
| 11239 |
Septcmbcr 1989. Name painted on soclc (`)
|
| 11240 |
DALTON D.C.L.'). `DR. DALTON' is incised in the
|
| 11241 |
model in the lower cdgc of the chest and `Chantrey.
|
| 11242 |
1834' is incised in the model on the back.
|
| 11243 |
Chantrey Sft, no. 34 former paper label, no. 24;
|
| 11244 |
I.are Poolc, no. 546.
|
| 11245 |
A version in ivory 22 cms. high signed
|
| 11246 |
`Chantrey Fect. Chevcrton SC' was lot 77,
|
| 11247 |
Phillip's, Ilondon, 26 November 1985. For
|
| 11248 |
Dalton see No. 631.
|
| 11249 |
Lent to the National Trust, Belton House,
|
| 11250 |
Lincolnshire, December 1989.
|
| 11251 |
@@PROCESS
|
| 11252 |
699. Admiral Sir John Thomas
|
| 11253 |
DUCKWORTH Bt. (1748-1817)
|
| 11254 |
69.8 cms. (height, including socle); 11.8 cms,
|
| 11255 |
(heightofsocle)
|
| 11256 |
Uncleaned. slight flaking. Small chip on the back
|
| 11257 |
of the base, and on the front ofthc upper moulding
|
| 11258 |
of the socle. Name palntcd on soclc.
|
| 11259 |
Chantrey Sft, no. 38; lane Poole, no. 550.
|
| 11260 |
Marble forms part of monument to Admiral
|
| 11261 |
Duckworth in Topsham Church, Devon, but
|
| 11262 |
adjusted awkwardly to term format,
|
| 11263 |
surrounded with a clumsy trophy, and
|
| 11264 |
surmounting a lively relief of a sea battle.
|
| 11265 |
Commissioned 1817, completed and paid for
|
| 11266 |
1820 (RA I.cdger, p. 77). A bust of
|
| 11267 |
Duckworth was exhibited by Chantrey at the
|
| 11268 |
Royal Academy in 1811 (no. 939). It was
|
| 11269 |
presumably the one of George Duckworth
|
| 11270 |
employed on his monument in the same
|
| 11271 |
church.
|
| 11272 |
@@PROCESS
|
| 11273 |
700. Robert DUNDAS of Arniston
|
| 11274 |
(1758-1819)
|
| 11275 |
65,8 cms. (height including socle); 10.8 cms.
|
| 11276 |
(height of socle)
|
| 11277 |
Uncleaned. Some flaking to drapery and nose and
|
| 11278 |
missing chip from the front of the socle retouched
|
| 11279 |
by Christine Gormley, September 1989. Name
|
| 11280 |
painted on socle (`DUNDAS, LD. CF BARON OF
|
| 11281 |
SCOTIAND').
|
| 11282 |
Chantrcy gift, no. 39; hanc Poole, no. 551.
|
| 11283 |
Marble in Arniston House, Midlothian, dated
|
| 11284 |
1817. Commissioned 1817, completed
|
| 11285 |
1818, paid for 1819 (RA Ledger, p. 43),
|
| 11286 |
cxhibitcd Royal Academy 1817 (no.1051).
|
| 11287 |
The work exhibited may have been this plaster
|
| 11288 |
and a commission for the marble only
|
| 11289 |
received later in the same year. Dundas was
|
| 11290 |
Lord Chief Baron of the Exchequer of
|
| 11291 |
Scotland. See also No. 634.
|
| 11292 |
I.ent to the National Trust, Belton House,
|
| 11293 |
Lincolnshire, December 1989.
|
| 11294 |
@@PROCESS
|
| 11295 |
701. Probably Thomas Dundas,
|
| 11296 |
lst Baron DUNDAS of Aske
|
| 11297 |
( 1741-1820)
|
| 11298 |
68.I cms. (height including socle); 13.3 cms.
|
| 11299 |
(height of soclc)
|
| 11300 |
Unclcaned. Extensive flaking. Small chip on front
|
| 11301 |
base of soclc. Touched in by Christine Gormley,
|
| 11302 |
September 1989. Name painted on socle (`LD
|
| 11303 |
DUNDAS').
|
| 11304 |
Chantrey 5ft, no. 41; IAnc Poolc, no. 553.
|
| 11305 |
Marble at Aske Park, RIchmond, dated 1820.
|
| 11306 |
Another at Wcntworth Woodhouse,
|
| 11307 |
Yorkshire, dated 1824. Commissioncd 1819,
|
| 11308 |
paid for 1820 (RA I.cdgcr, p. 112).
|
| 11309 |
I.cnt to the National Trust, Belton House,
|
| 11310 |
Lincolnshire, December 1989.
|
| 11311 |
@@PROCESS
|
| 11312 |
702. James DUNLOP (d.1832.>)
|
| 11313 |
72.7 cms. (height including socle); 14.2 cms.
|
| 11314 |
(height of socle)
|
| 11315 |
UncleaLned. Extensive flaking, chiefly to head and
|
| 11316 |
neck. Name painted on socle.
|
| 11317 |
Chantrey Sft, no. 42; paper label, no. 50; I.ane
|
| 11318 |
Poolc, no. 554.
|
| 11319 |
Commissioned 1836, completed 1840, paid
|
| 11320 |
for 1841 (RA Ledger, p. 281), exhibited
|
| 11321 |
Royal Academy 1841 (no. 1327). I,ane Poole
|
| 11322 |
identified the sitter as James Dunlop who
|
| 11323 |
died in the autumn of 1841 but the bust was
|
| 11324 |
described as posthumous when exhibited
|
| 11325 |
earlier that year at the Royal Academy. It
|
| 11326 |
might be a portrait of Lieutenant-General
|
| 11327 |
James Dunlop who died in 1832 although, if
|
| 11328 |
so, it is surprising that his rank is not given
|
| 11329 |
in either the ledger or the Academy catalogue.
|
| 11330 |
@@PROCESS
|
| 11331 |
703. Mr EGERTON (d. c.1828)
|
| 11332 |
76.3 cms. (height, including socle); 13.5 cms.
|
| 11333 |
(height of socle)
|
| 11334 |
Uncleancd. Some flaking. A break between soclc
|
| 11335 |
and bust repaired. Name painted on socle (`Mr
|
| 11336 |
Egerton').
|
| 11337 |
Chantrey dft, no. 44; I.anc Poole, no. 556.
|
| 11338 |
Tentatively identified as a bust of Charles
|
| 11339 |
Chandler Egerton (1798-1885), surgeon to
|
| 11340 |
the Calcutta Hospital, by lane Poole, but he
|
| 11341 |
looks like an older man. No commission for
|
| 11342 |
a bust of any Egerton is recorded in the RA
|
| 11343 |
@@PROCESS
|
231
|
| 11345 |
|
| 11346 |
APPENDIX I PLASTER CASTS FROM THE STUDIO'OF SIR FRANCIS CHANTREY
|
| 11347 |
@@PROCESS
|
| 11348 |
232
|
| 11349 |
@@PROCESS
|
| 11350 |
704
|
| 11351 |
Ledger but there is a monument to a Mr
|
| 11352 |
Egerton commissioned in 1828 and
|
| 11353 |
completed in the following year which may
|
| 11354 |
well have incorporated a bust.
|
| 11355 |
@@PROCESS
|
| 11356 |
704. George O'Brien Wyndham, 3rd
|
| 11357 |
carl of EGREMONT ( 1751-1837)
|
| 11358 |
75.4 cms. (height, including socLe); 13.I cms.
|
| 11359 |
(height of socle)
|
| 11360 |
Unclcaned. Flaking on head. The shoulder and
|
| 11361 |
chest to proper right broken off and lost. Name
|
| 11362 |
painted on soclc.
|
| 11363 |
Chantrey dft, no. 45; Idnc Poole, no. 557.
|
| 11364 |
Commissioned May 1829, completed and
|
| 11365 |
paid for 1831. Egremont was among the
|
| 11366 |
leading collectors and patrons of modern
|
| 11367 |
British art.
|
| 11368 |
@@PROCESS
|
| 11369 |
705. Mountstuart ELPHINSTONE
|
| 11370 |
(1779-1859)
|
| 11371 |
62.3 cms. (height, including socle); 12.3 cms.
|
| 11372 |
(height of socle)
|
| 11373 |
Uncleaned. Very little flaking. large chip missing
|
| 11374 |
from base of soclc to proper right. Touched in by
|
| 11375 |
Kathlecn EGmbcr September 1989. Name painted
|
| 11376 |
on soclc.
|
| 11377 |
Chantrey Sft, no. 46; Ijanc Poole, no. 558. For
|
| 11378 |
Elphinstonc see No. 636.
|
| 11379 |
Lent to the National Trust, Belton House,
|
| 11380 |
Lincolnshire, December 1989.
|
| 11381 |
@@PROCESS
|
| 11382 |
706. Sir Henry Charles
|
| 11383 |
ENGLEFIELD FSA, FBS
|
| 11384 |
(1752-1822)
|
| 11385 |
52 cms. (height)
|
| 11386 |
Cleaned and repaired and shellac rcnewcd by Rachel
|
| 11387 |
Kcnward. A hairline crack runs from the proper left
|
| 11388 |
shoulder to the proper right collarbone. Points
|
| 11389 |
visible, mainly on the head. `CHANTREy/
|
| 11390 |
scuLPTOR/1818' incised in the model to proper
|
| 11391 |
left side of hcrm. The sittcr's monogram (HC and
|
| 11392 |
E interlaced) is incised in the model in the lower,
|
| 11393 |
chamfcred, portion of the draped front of the chest.
|
| 11394 |
Chantrey aft, no. 48; lane Poole, no. 560.
|
| 11395 |
Marble in the Cleveland Museum of Art,
|
| 11396 |
Ohio (78.22), is slightly larger and has a more
|
| 11397 |
distinctly chamfcred treatment to the base of
|
| 11398 |
the chest. Commissioncd 1818, completed
|
| 11399 |
1820 (RA Ijedger, p. 71) but the marble
|
| 11400 |
dated 1818. Englcfield was an antiquary and
|
| 11401 |
collector.
|
| 11402 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11403 |
@@PROCESS
|
| 11404 |
707. Sir Charles I.ong, I.ord
|
| 11405 |
FARNBOROUGH ( 1760-1838)
|
| 11406 |
74.6 cms. (height, including soclc); 13.4 cms.
|
| 11407 |
(height of socle)
|
| 11408 |
Cleaned by Rachel Kcnward. Points visible. A
|
| 11409 |
vertical crack, from the proper right shoulder into
|
| 11410 |
the neck. Name formerly painted on soclc.
|
| 11411 |
Chantrey 5ft, no. 49; I.ane Poolc, no. 561.
|
| 11412 |
Marble, dated 1820, in the National Portrait
|
| 11413 |
Gallery (2090). A repetition in the National
|
| 11414 |
Gallery dated 1836, given by a descendant of
|
| 11415 |
I,ong. RA Ledger records the latter (p.
|
| 11416 |
@@PROCESS
|
| 11417 |
258 )-ommissioncd 1833, completed
|
| 11418 |
1834, paid for 1842. Farnborough was
|
| 11419 |
Paymaster General, a notable connoisseur and
|
| 11420 |
collector who became art adviser to Gcorge
|
| 11421 |
IV and a trustee of both the British Museum
|
| 11422 |
and National Gallery.
|
| 11423 |
@@PROCESS
|
| 11424 |
708. John FULLER MP
|
| 11425 |
( 1757-1834)
|
| 11426 |
74.9 cms. (height, including scrolled plinth);
|
| 11427 |
13,3 cms. (height of scrolJcd plinth)
|
| 11428 |
Uncleaned. Slightly flaking on the drapery. Name
|
| 11429 |
painted on lower corner of scrolled plinth to proper
|
| 11430 |
left (`j. FULLER Esq. M.P.').
|
| 11431 |
Chantrey aft, no. 51; paper label, no. 28; I.ane
|
| 11432 |
Poole, no. 563.
|
| 11433 |
Marble serves as part of the monument in
|
| 11434 |
Brightling Parish Church, Sussex (the frame
|
| 11435 |
by H. Rouw). A bust of Fuller was exhibited
|
| 11436 |
at the Royal Aca.deny in 1820 (no. 1048).
|
| 11437 |
The bust of him commissioned 1834,
|
| 11438 |
complcted and paid for 1835 (RA Ledger, p.
|
| 11439 |
@@PROCESS
|
| 11440 |
263), was presumably a repetition. I.are
|
| 11441 |
Poole wrongly identified the sitter as a Fuller
|
| 11442 |
who died in 1839. The unusual scrolled plinth
|
| 11443 |
must be connected with its sepulchral setting
|
| 11444 |
for which, however, it was not adopted. Fuller
|
| 11445 |
was known as `Mad Jack Fuller'. He was an
|
| 11446 |
eccentric, a collector and a builder of follies.
|
| 11447 |
@@PROCESS
|
| 11448 |
709. King GEORGE IV
|
| 11449 |
(1762-1830)
|
| 11450 |
82.8 cms. (height, including socle); 14.1 cms.
|
| 11451 |
(height of socLe)
|
| 11452 |
Coated with whitewash, now very grubby.
|
| 11453 |
Chantrey aft, no. 53; I.one Poole, no. 565.
|
| 11454 |
Marble versions are at Chatsworth (dated
|
| 11455 |
1822), the Royal College of surgeons (dated
|
| 11456 |
1823), and elsewhere. The earliest version
|
| 11457 |
seems to have been made for the king himself
|
| 11458 |
in 1821-2 may be that in the Royal Pavilion,
|
| 11459 |
Brighton. One in Windsor Castle is dated
|
| 11460 |
1828 and one in Buckingham Palace is dated
|
| 11461 |
1837. One version was cxhibitcd at the Royal
|
Academy in 1822 (no. 988).
|
| 11463 |
AI'I'ENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11464 |
@@PROCESS
|
| 11465 |
234
|
| 11466 |
@@PROCESS
|
| 11467 |
710. Sir Henry HALFORD Bt. MD
|
| 11468 |
(1766-1844)
|
| 11469 |
71.5 cms. (height, including socle); 13.7 cms.
|
| 11470 |
(hcightofsor:le)
|
| 11471 |
Unclcaned. Slight flaking. Chipped around back at
|
| 11472 |
junction of socle and bust which is repaired but
|
| 11473 |
loose. Name painted on socle.
|
| 11474 |
Chantrey tift, no. 57; I.anc Poole, no. 569.
|
| 11475 |
Marble, dated 1825, in the Royal College of
|
| 11476 |
Physicians, Ijondon. Commissioned 1824,
|
| 11477 |
completed and paid for 1825 (RA Ledger, p.
|
| 11478 |
@@PROCESS
|
| 11479 |
169). Halford was Physician to the Middlesex
|
| 11480 |
Hospital, Physician extraordinary to king
|
| 11481 |
George Ill, and Prcsidcnt of the Royal
|
| 11482 |
College of Physicians. He was the most
|
| 11483 |
eminent member of his profession in I.ondon
|
| 11484 |
in the early years of the nineteenth century.
|
| 11485 |
@@PROCESS
|
| 11486 |
711. Sir chdrew Snape IIAMOND
|
| 11487 |
Bt. (1738-1828)
|
| 11488 |
62.5 cms. (height including socle); 10.6 cms.
|
| 11489 |
(height of soclc )
|
| 11490 |
Unclcancd. Some flaking on head and neck.
|
| 11491 |
Touched in by Kathlcen Kimber. September 1989.
|
| 11492 |
Name painted on socle.
|
| 11493 |
Chantrey dft, no. 58; former paper label, no. 123;
|
| 11494 |
I.ane Poole, no. 570.
|
| 11495 |
Marble dated 1820 noted by Gunnis as in
|
| 11496 |
`private possession'. Commissioned 1818,
|
| 11497 |
completed 1820 (RA Ledger, p. 82), and
|
| 11498 |
exhibited Royal Academy 1821 (no.1139).
|
| 11499 |
Hamond was Comptroller of the Navy.
|
| 11500 |
Lent in December 1989 to the National
|
| 11501 |
Trust, Belton House, Lincolnshire.
|
| 11502 |
@@PROCESS
|
| 11503 |
712. Revd William Vernon
|
| 11504 |
HARCOURT FRS (1789-1871)
|
| 11505 |
80.0 cms. (height, including soclc); 13.2 cms.
|
| 11506 |
(height of socle)
|
| 11507 |
Unclcaned. A large but superficial chip missing from
|
| 11508 |
the proper right shoulder. Name painted on socle.
|
| 11509 |
Chantrey ctft, no, 59; paper label, no. 89; I.ane
|
| 11510 |
Poole, no. 571.
|
| 11511 |
Marble, formerly Philosophical Society, York,
|
| 11512 |
now City Art Gallery, York, d'ated 1832.
|
| 11513 |
Commissioned 1831, completed and paid for
|
| 11514 |
1833 (RA Ledger, p. 242). Harcourt, a
|
| 11515 |
@@PROCESS
|
| 11516 |
711 philanthropist, educationalist, and scientist,
|
| 11517 |
was the first president and virtual founder of
|
| 11518 |
the British Association. A miniature version
|
| 11519 |
of the bust (marble, 21.8 cms. high) is in a
|
| 11520 |
private collection (photograph in the Conway
|
| 11521 |
Library).
|
| 11522 |
@@PROCESS
|
| 11523 |
713. Charles IIATCHETT FBS
|
| 11524 |
(1765.>-1847)
|
| 11525 |
61.7 cms. (height)
|
| 11526 |
Uncleaned. A large chip is missing from the proper
|
| 11527 |
right side at the base. Name painted on plinth below
|
| 11528 |
chest. `Hatchctt/1820/F. Chantrey S.' incised in
|
| 11529 |
the model in bold cursive letters on the proper
|
| 11530 |
right side of the hem.
|
| 11531 |
Chantrey Sft, no. 60; I.anc Poole, no. 572.
|
| 11532 |
Commissioned 1820 (RA Ledger, p. 102).
|
| 11533 |
No date for completion is recorded but the
|
| 11534 |
bust was paid for. Hatchett was a chemist.
|
| 11535 |
@@PROCESS
|
| 11536 |
714. Reginald HEBER, bishop of
|
| 11537 |
Calcutta ( 1783-1826)
|
| 11538 |
71.8 cms. (height, including socle); 14,3 cms.
|
| 11539 |
(height of socle)
|
| 11540 |
Uncleancd. Socle chipped on base to proper right.
|
| 11541 |
Name painted on sacle.
|
| 11542 |
Chantrcy rift, no. 61; Ijane Poolc, no. 573.
|
| 11543 |
The Royal Academy Ledger records no
|
| 11544 |
commission for a bust. The explanation may
|
| 11545 |
be that this is rather a fragment of a projected
|
| 11546 |
statue separately cast and mounted as a bust
|
| 11547 |
by the sculptor-that would explain the lack
|
| 11548 |
of compositional interest in the drapery. For
|
| 11549 |
Heber see also Nos. 642, 643.
|
| 11550 |
@@PROCESS
|
| 11551 |
715. William HENRY ( 1774-1836)
|
| 11552 |
74.5 cms. (height, including socle); 14.2 cms,
|
| 11553 |
(height of socle)
|
| 11554 |
Unclcaned. Much flaking. A break at the back of
|
| 11555 |
the bust above the junction with the soclc. Name
|
| 11556 |
painted on socle (`HENRy M.D.'),
|
| 11557 |
Chantrey rift, no. 64; socle label, no. 47; I.ane
|
| 11558 |
Poole, no. 576.
|
| 11559 |
Commissioncd 1836 and paid for 1842 (RA
|
| 11560 |
Iledger, p. 279). The dates suggest that the
|
| 11561 |
bust was completed posthumously. It was
|
| 11562 |
commissioncd by the Manchester Literary
|
| 11563 |
and Philosophical Society. lame Poole's
|
| 11564 |
suggestion that the sitter was Dr James
|
| 11565 |
Henry, a physician in Dublin ( 1798-1876),
|
| 11566 |
seems unlikely in view of the age and
|
| 11567 |
Mancunian connection. It must represent
|
| 11568 |
William Henry, chemist, of Manchester.
|
| 11569 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11570 |
ET=iHE
|
| 11571 |
@@PROCESS
|
| 11572 |
716. Colonel Charles HERRIES
|
| 11573 |
(1745-1819)
|
| 11574 |
56.7 cms. (height)
|
| 11575 |
Unclcaned. Slight flaking at nose. hargc chip
|
| 11576 |
missing from base at rear and a superficial chip
|
| 11577 |
missing from the coat lapel to proper left. Name
|
| 11578 |
painted in chamfered area of base of chest to proper
|
| 11579 |
left. `Coloncl Herries/Chantrey ft 1822' is incised
|
| 11580 |
in a cursive hand in the model across the back.
|
| 11581 |
Chantrey gift, no. 65; socle label, no. 4; Ime Poole,
|
| 11582 |
rro.i;fl7 .
|
| 11583 |
The marble is part of the monument to
|
| 11584 |
Herries in Westminster Abbey. A plaster cast
|
| 11585 |
after the marble was lot 223, Sotheby's,
|
| 11586 |
Ijondon, 2 April 1985. The monument was
|
| 11587 |
commissioned in 1819 and completed in
|
| 11588 |
1822 (RA Ledger, p. 106). I.ane Poole
|
| 11589 |
conjectured that `Herries' was perhaps Licut. -
|
| 11590 |
7]5 Col. William Lewis Herries. Charles Hcrries
|
| 11591 |
was a colonel in the h)ndon and Westminster
|
| 11592 |
I.ight Horse Volunteers.
|
| 11593 |
@@PROCESS
|
| 11594 |
717. Francis Seymour-Conway, 2nd
|
| 11595 |
marquess of HERTFORD
|
| 11596 |
(1743-1822)
|
| 11597 |
23.6 cms. (height of socle)
|
| 11598 |
Uncleaned. The base is broken into four picccs. A
|
| 11599 |
fragment of the chest is missing, (The photograph
|
| 11600 |
show the pieces rcassemblcd. ) Thcrc is slight
|
| 11601 |
flaking. There arc chips missing and scratches at
|
| 11602 |
edges of breaks. also on the base of the soclc and
|
| 11603 |
on the nose. Name painted on socle.
|
| 11604 |
Chantrey rift, no. 66; paper label, no. 88; I.ane
|
| 11605 |
Poolc, no. 578.
|
| 11606 |
Bust and monument commissioned 1822;
|
| 11607 |
@@PROCESS
|
| 11608 |
716 bust delivered and paid for l825 (RA Ledger,
|
| 11609 |
p. 152). See No. 644.
|
| 11610 |
@@PROCESS
|
| 11611 |
717
|
| 11612 |
@@PROCESS
|
| 11613 |
718. Sir Benjamin HOBHOUSE Bt.
|
| 11614 |
MP (1757-1831)
|
| 11615 |
68.4 cms. (height, including socle); 12.8 cms,
|
| 11616 |
(height of socle)
|
| 11617 |
Unclcancd. Slight flaking. Touched in by Christine
|
| 11618 |
Gormley, September 1979, and socle repaired by
|
| 11619 |
Kathleen Kimbcr. Nanc painted on soclc.
|
| 11620 |
Chantrey dft, no, 69; paper label, no. 49; I.anc
|
| 11621 |
Poole, no. 581.
|
| 11622 |
Commissioned by the West of England
|
| 11623 |
Society for the Promotion of Agriculture
|
| 11624 |
1818, completed 1819 (RA Ledger, p. 87)
|
| 11625 |
and exhibited Royal Academy 1819 (no.
|
| 11626 |
1222).
|
| 11627 |
I,ent to the National Trust, Belton House,
|
| 11628 |
I.incolnshirc, in December 1989.
|
| 11629 |
@@PROCESS
|
235
|
| 11631 |
|
| 11632 |
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
|
| 11633 |
@@PROCESS
|
| 11634 |
718
|
| 11635 |
@@PROCESS
|
| 11636 |
236
|
| 11637 |
@@PROCESS
|
| 11638 |
719. Sir Everard HOME Bt.
|
| 11639 |
(1756-1832)
|
| 11640 |
69.7 cms. (height, including soclc); 10.8 cms.
|
| 11641 |
(height of socle)
|
| 11642 |
Uncleaned. Slight flalcing, most obvious on the
|
| 11643 |
nose. Touched in by Christine Gormley, September
|
| 11644 |
1979. Name palntcd on socle.
|
| 11645 |
Chantrey tlft, no. 70; former paper label, no. 52;
|
| 11646 |
I.ane Poole, no. 582.
|
| 11647 |
Marble in the Royal College of surgeons,
|
| 11648 |
I,ondon, dated 1816. Exhibited at the Royal
|
| 11649 |
Academy 1816 (no. 935).
|
| 11650 |
I.cnt to the National Trust, Bclton House,
|
| 11651 |
hincolnshire, in Dcccmber 1989.
|
| 11652 |
@@PROCESS
|
| 11653 |
720. Francis HORNER MP
|
| 11654 |
(1778-1817)
|
| 11655 |
57.5 cms. (height, including socle); 10.5 cms.
|
| 11656 |
(height of socle)
|
| 11657 |
Uncleancd. Name painted on socle.
|
| 11658 |
Chantrey Sft, no. 71; former label on soclc, no.
|
| 11659 |
86; hic Poole, no. 583.
|
| 11660 |
Marble versions at National Portrait Gallery,
|
| 11661 |
Edinburgh, dated 1818, and the Ackland Art
|
| 11662 |
Museum, University of North Carolina at
|
| 11663 |
Chapel Hill, dated 1820, also cxhibitcd at
|
| 11664 |
the Heim Gallery, I,ondon, autumn 1972
|
| 11665 |
(Paintings and Sculptures 1770-1830). F.rlst
|
| 11666 |
commission given 1817, completed 1818 (RA
|
| 11667 |
I.edger, p. 61), and exhibited Royal Academy
|
| 11668 |
1818 (no. 1075, as posthumous). For Homer
|
| 11669 |
see also No. 648.
|
| 11670 |
I.cnt to the National Trust, Bclton House,
|
| 11671 |
hincolnshire, December 1989.
|
| 11672 |
@@PROCESS
|
| 11673 |
721. Wihian HOWLEY, archbishop
|
| 11674 |
of Canterbury ( 1766-1848)
|
| 11675 |
56.2 cms. (height)
|
| 11676 |
Clcancd and shellac rcncwed by Rachcl Kenward.
|
| 11677 |
Chips missing at back comer to proper right and
|
| 11678 |
made up at back comer to proper left. Numerous
|
| 11679 |
points visible. Vestiges of name formerly paintcd
|
| 11680 |
on lower part of chest to proper left.
|
| 11681 |
Chantrey dft, no. 73; ILanc Poole, no. 585.
|
| 11682 |
Marble, dated 1821, in the Paul Mellon
|
| 11683 |
Center, Yale University. Another with the
|
| 11684 |
same date in Canterbury Cathedral library. A
|
| 11685 |
plaster cast is in I.ambeth Palace.
|
| 11686 |
@@PROCESS
|
| 11687 |
722. David HUME (1757-1838)
|
| 11688 |
73.7 cms. (height, including soclc); 13.7 cms.
|
| 11689 |
(height of soclc)
|
| 11690 |
Uncleaned. Nose broken off, rcfixcd, and rebroken.
|
| 11691 |
Chantrey Sft, no. 74; paper label, no. 63; Irdnc
|
| 11692 |
Poole, no. 586.
|
| 11693 |
Marble in the Sessions House, Edinburgh,
|
| 11694 |
dated 1832. Commissioned 1827, completed
|
| 11695 |
1832, paid for 1834 (RA I.edger, p. 203).
|
| 11696 |
Hume was Baron of the Scottish Exchequer.
|
| 11697 |
@@PROCESS
|
| 11698 |
723. John HUNTER ( 1728-93)
|
| 11699 |
66.7 cms. (height, including soclc); 13.4 cms.
|
| 11700 |
(height of soclc)
|
| 11701 |
Unclcaned. Widespread flaking. Large loss on
|
| 11702 |
proper right side of the socle; a smaller loss on the
|
| 11703 |
proper left side.
|
| 11704 |
Chantrey gift, no. 75; I.anc Poolc, no. 587.
|
| 11705 |
Marble in the Royal Collcgc of surgeons
|
| 11706 |
dated 1820. Hunter was one of the foremost
|
| 11707 |
anatomists of his day.
|
| 11708 |
@@PROCESS
|
| 11709 |
724. John IREIAND, dean of
|
| 11710 |
Westminster ( 1761-1842)
|
| 11711 |
72 cms. (height, including socle); 14.2 cms.
|
| 11712 |
(height of socle)
|
| 11713 |
Uncleancd. Shightly flaking on nose and drapery. A
|
| 11714 |
large break on the base of socle. Name painted on
|
| 11715 |
socle ( `Ireland Dean ofwcstminstcr' ).
|
| 11716 |
Chahtrey aft, no. 77; paper label, no. 18; I,ane
|
| 11717 |
Poole, no. 589.
|
| 11718 |
The marble, dated 1829, was presented to
|
| 11719 |
the University of oxford on 8 December
|
| 11720 |
1831 by the sitter and is in the Examination
|
| 11721 |
Schools, fomerly in the Bodleian Library.
|
| 11722 |
@@PROCESS
|
| 11723 |
725. Thomas JOHNES MP, FRS
|
| 11724 |
(1748-1816)
|
| 11725 |
70 cms. (height, including socle); 13.3 cms.
|
| 11726 |
(height of socle)
|
| 11727 |
Unclcancd. Slight flaking and small chips touched
|
| 11728 |
in and a large loss in the socle rcpaircd by Kathlecn
|
| 11729 |
RImber in November 1989. Name painted on socle.
|
| 11730 |
Chantrey dft, no. 79; I.ane Poole, no. 591.
|
| 11731 |
Marble previously on loan to the Victoria and
|
| 11732 |
Albert Museum, now in the National
|
| 11733 |
Museum of wales. Commissioned,
|
| 11734 |
completed, and paid for 1811 (RA Ledger,
|
| 11735 |
p. 74), and exhibited Royal Academy 1812
|
| 11736 |
(no. 894). The ledger records that eight
|
| 11737 |
plaster casts were sold to Johncs in addition
|
| 11738 |
to the marble bust. Johnes, the builder of
|
| 11739 |
Hafod, Cardigan, was an antiquary and a
|
| 11740 |
noted collector and patron of art.
|
| 11741 |
I.ent in December 1989 to the National
|
| 11742 |
Trust, Belton House, Lincolnshire.
|
| 11743 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11744 |
@@PROCESS
|
| 11745 |
726. Edward JOHNSTONE (dates
|
| 11746 |
unknown)
|
| 11747 |
72.7 cms. (height, including socle); 12.6 cms.
|
| 11748 |
(height of soclc)
|
| 11749 |
Uncleancd. Flaking in several areas. Damaged 1984
|
| 11750 |
by a falling packing case and repaired. Some minor
|
| 11751 |
losses along the vertical repair from chest to neck.
|
| 11752 |
A large chip missing from the hair to proper right.
|
| 11753 |
The name painted on the socle.
|
| 11754 |
Chantrey dft, no. 80; lane Poole, no. 592.
|
| 11755 |
Marble in the City Museum and Art Gallery,
|
| 11756 |
Birmingha.in, dated 1819. Commissioned
|
| 11757 |
1818, exhibited Royal Academy 1819 (no.
|
| 11758 |
1204), paid for 1826 (Potts, no. 23). The
|
| 11759 |
sitter was an illegitimate son of the marquess
|
| 11760 |
72l(b) ofwcllesley (brother ofthc duke of
|
| 11761 |
Wellington) and not, as I.ane Poolc supposed,
|
| 11762 |
the Edinburgh physician.
|
| 11763 |
@@PROCESS
|
| 11764 |
727. Walter KING, bishop of
|
| 11765 |
Rochester ( 1755.>-1827)
|
| 11766 |
52.7 cms. (height)
|
| 11767 |
Uncleancd. Slight flaking near lower cdgc. Chips
|
| 11768 |
missing from comers and on proper left ear. Name
|
| 11769 |
painted on front of bust to proper left (.King BP
|
| 11770 |
ofRochestcr').
|
| 11771 |
Chantrey Sft, no+ 82; paper label, no. 67; I,ane
|
| 11772 |
Poolc, no. 594.
|
| 11773 |
Exhibited Royal Academy 1821 (no.1136)
|
| 11774 |
and eventually incorporated in the
|
| 11775 |
monument to King in Rochcstcr Cathedral-but
|
| 11776 |
a bust dated 1821 is also recorded in the
|
| 11777 |
Diocesan House, Rochester.
|
| 11778 |
@@PROCESS
|
| 11779 |
728. Revd Alexander MACKENZIE
|
| 11780 |
(d. 1817)
|
| 11781 |
59.3 cms. (height, including soclc); 9.9 cms.
|
| 11782 |
(height of soclc)
|
| 11783 |
@@PROCESS
|
| 11784 |
724 Uncleaned. Extcnsivc flaking. Vestiges of name on
|
| 11785 |
socle (`Mackcnzic.). Touched in by Kathlecn
|
| 11786 |
Kimbcr in October 1989.
|
| 11787 |
Chantrey dft, no. 84; paper label, no. 66; I,ane
|
| 11788 |
Poole, no. 596.
|
| 11789 |
Marble serves as monument to the Revd
|
| 11790 |
Alexander Mackenzic in St Paul's Church,
|
| 11791 |
Sheffield. Commissioned 1817, completed
|
| 11792 |
1818 (RA Ledger, p. 51).
|
| 11793 |
Lent to the National Trust, Belton House,
|
| 11794 |
Lincolnshire, in December 1989.
|
| 11795 |
@@PROCESS
|
237
|
| 11797 |
|
| 11798 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11799 |
@@PROCESS
|
| 11800 |
729. Sir John MALCOLM Bt. GCB
|
| 11801 |
(1769-1833)
|
| 11802 |
79.4 cms. (height, including soclc); 12.8 cms.
|
| 11803 |
(height of socle)
|
| 11804 |
Uncleancd. Slight flaking, mostly on socle. Name
|
| 11805 |
painted on soclc.
|
| 11806 |
Chantrey Sft, no. 85; lane Pcole, no. 597.
|
| 11807 |
Commissioned 1839, complctcd 1840 ( RA
|
| 11808 |
Ijcdger, p. 302). Malcolm was a noted
|
| 11809 |
diplomat and administrator in India. Hc was
|
| 11810 |
a govcmor of Bombay. See No. 651.
|
| 11811 |
@@PROCESS
|
| 11812 |
730. Andrew Maconochic, 2nd I.ord
|
| 11813 |
MEADOWBANK(1777-186l)
|
| 11814 |
71.6 cms. (height, including soclc); 13.2 cms.
|
| 11815 |
(heightofsaclc)
|
| 11816 |
Unclcancd. Slight flaking to edge of draperies.
|
| 11817 |
Name palntcd on socle.
|
| 11818 |
Chantrey dft, no. 87; paper label, no. 17; Irme
|
| 11819 |
Poolc, no. 599.
|
| 11820 |
Commissioncd 1834, completed 1838 (RA
|
| 11821 |
Ledger, p. 288).
|
| 11822 |
@@PROCESS
|
| 11823 |
731. Wihiam I,amb, 2nd Viscount
|
| 11824 |
MELBOURNE ( 1779-1848)
|
| 11825 |
83.2 cms. (height, including soclc); 13.2 cms.
|
| 11826 |
(height of soclc)
|
| 11827 |
Uncleancd. Flaking, cspccially to dra.pery and
|
| 11828 |
forchcad.
|
| 11829 |
Chantrcy 5ft, no. 88; paper label, no. 54; hoe
|
| 11830 |
Poolc, no. 600.
|
| 11831 |
Marble at Windsor Castle dated 1841.
|
| 11832 |
Commissioncd by the queen 1839 (RA
|
| 11833 |
I.cdger, p. 300). Mclboume was Whig Prime
|
| 11834 |
Minister in 1834 and again 183541. He was
|
| 11835 |
also political mentor to the young Queen
|
| 11836 |
Victoria.
|
| 11837 |
@@PROCESS
|
| 11838 |
732. Henry Dundas, lst Viscount
|
| 11839 |
MELVILLE(1742-18ll)
|
| 11840 |
85.5 cms. (height, including plinths); 21.6 cms.
|
| 11841 |
(height of plinths)
|
| 11842 |
Unclcancd. Flaking, mostly on head, hair, and neck.
|
| 11843 |
Name painted on proper left side of front face of
|
| 11844 |
lower plinth.
|
| 11845 |
Chantrey dft, no. 89; Imc Poolc, no. 601.
|
| 11846 |
Commissioned 1830, completed 1832 (RA
|
| 11847 |
I,edger, p. 229). Melville was a prominent
|
| 11848 |
Tory Statesman. The plinth suggests a
|
| 11849 |
sepulchral setting.
|
| 11850 |
@@PROCESS
|
| 11851 |
238
|
| 11852 |
@@PROCESS
|
| 11853 |
731
|
| 11854 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11855 |
@@PROCESS
|
| 11856 |
733. Professor William H. MILL
|
| 11857 |
(1792-1853)
|
| 11858 |
73.4 cms. (height, including socle); 12.6 cms.
|
| 11859 |
(height of socle)
|
| 11860 |
Unclcancd. Some flaking. A recent break to the
|
| 11861 |
upper part and the soclc and to its base to lower
|
| 11862 |
left. A crack at the junction of bust and socle
|
| 11863 |
repaired but loose. Name palntcd on socle (`Rcvd
|
| 11864 |
Dr MILL).
|
| 11865 |
Chantrey gift, no. 90; paper label, no. 99; I.are
|
| 11866 |
Poolc, no. 602.
|
| 11867 |
Commissioncd by the Asiatic Society,
|
| 11868 |
Calcutta, 1839, completed and paid for 1840
|
| 11869 |
(RA Ledger, p. 293), exhibited Royal
|
| 11870 |
Academy 1840 (no.1198, specified as
|
| 11871 |
marble). Mill was Regivs Professor of Hebrew
|
| 11872 |
at the University of Cambridge.
|
| 11873 |
@@PROCESS
|
| 11874 |
734. James MORRISON MP
|
| 11875 |
(1790-1857)
|
| 11876 |
78+7 cms+ (height, including soclc); 12.8 cms.
|
| 11877 |
(height of socle)
|
| 11878 |
Whitewashed, cxccpt for socle. Whitewash now
|
| 11879 |
gmbby.
|
| 11880 |
Chantrey ctft, no. 91; paper label, no. 31(?); Lane
|
| 11881 |
Poole, no. 603.
|
| 11882 |
Completed 1837 (RA Ledger, p. 289);
|
| 11883 |
exhibited Royal Academy 1842 (no. 1409,
|
| 11884 |
specified as marble).
|
| 11885 |
@@PROCESS
|
| 11886 |
735. Revd Zachay MUDGE
|
| 11887 |
(1694-1769)
|
| 11888 |
71.5 cms. (height)
|
| 11889 |
Uncleaned. Flaking scvcrely. Name painted on
|
| 11890 |
lower part of chest.
|
| 11891 |
Chantrey dft, no. 92; I.ane Poole, no. 604.
|
| 11892 |
The marble forms part of a monument in St
|
| 11893 |
Andrew's Church, Plymouth. It is based on
|
| 11894 |
the portrait by Reynolds. Commissioncd
|
| 11895 |
1825, completed 1830 (RA Ledger, p. 179).
|
| 11896 |
@@PROCESS
|
| 11897 |
736. Miss MUNDY
|
| 11898 |
66.2 cms. (height, including socle); 12.7 cms.
|
| 11899 |
(height of socle)
|
| 11900 |
Uncleaned. Slightly flaking, mostly in the hair. An
|
| 11901 |
unusually red shellac on the face and neck. A crack
|
| 11902 |
at the junction of bust with soclc has bccn rcpalred.
|
| 11903 |
Touched in by Kathleen Kimbcr, October 1989.
|
| 11904 |
Vestiges of name painted on soclc ( `Miss M . . . dy' ).
|
| 11905 |
Chantrey Sft, no. 93; soclc label, no. 6; lane Poole.
|
| 11906 |
no. 605.
|
| 11907 |
Commissioncd 1825; completed 1826 (RA
|
| 11908 |
Ledger, p. 182). I.ane Poole conjectured that
|
| 11909 |
this might be either Laura (who died in 1842)
|
| 11910 |
@@PROCESS
|
| 11911 |
239
|
| 11912 |
or Emily (who died in 1839), the daughters
|
| 11913 |
of Frances Mundy of Markeaton, Derby.
|
| 11914 |
Lent to the National Trust, Bclton House,
|
| 11915 |
I.incolnshire, December 1989.
|
| 11916 |
@@PROCESS
|
| 11917 |
737. Sir Thomas MUNRO Bt.
|
| 11918 |
(1761-1827)
|
| 11919 |
67.2 cms. (height)
|
| 11920 |
Uncleaned. I.argc chip on lower corner of chest to
|
| 11921 |
proper left. Na.mc palntcd on chamfered pordon
|
| 11922 |
of lower part of chest.
|
| 11923 |
Chantrey ctft, no. 94; socle label, no. 126; Lane
|
| 11924 |
Poole, no. 606.
|
| 11925 |
Exhibited at the Royal Academy 1840 (no.
|
| 11926 |
1190, specified as marble). The bust served
|
| 11927 |
as a model for the head of the colossal statue
|
| 11928 |
commissioncd for Madras. The commission
|
| 11929 |
for the bust seems not to be recorded in the
|
| 11930 |
RA Ledger. Munro was Governor of Madras.
|
| 11931 |
@@PROCESS
|
| 11932 |
738. `Mr MURDOCH'
|
| 11933 |
71 cms. (height, including soclc); 11.8 cms.
|
| 11934 |
(height of soclc)
|
| 11935 |
Uncleaned. Flaking. A fine crackle in the paint. A
|
| 11936 |
large chip missing from the proper right eyebrow.
|
| 11937 |
Chips to the proper left edge of the bust and to the
|
| 11938 |
drapery proper right. Name painted on soclc (`Mr
|
| 11939 |
Murdoch').
|
| 11940 |
Chantrey rift, no. 95; socle Label, no. 34; I.ane
|
| 11941 |
Poolc, no. 607.
|
| 11942 |
I.are Poole conjectured that this might be
|
| 11943 |
William Murdock ( 1754-1839), the pioneer
|
| 11944 |
of gas lighting; a monument to him
|
| 11945 |
incorporating a bust by Chantrey is in
|
| 11946 |
Handsworth Church. The name has, in this
|
| 11947 |
case, been spelled incorrectly on the soclc.
|
| 11948 |
@@PROCESS
|
| 11949 |
739. Joseph NEELD MP (MP
|
| 11950 |
1831-56)
|
| 11951 |
79.5 cms. (height, including socle); 13.2 cms.
|
| 11952 |
(height of socle)
|
| 11953 |
Uncleancd. Flaking. Name painted on soclc.
|
| 11954 |
Chantrey tlft, no. 96; lane Poolc, no. 608.
|
| 11955 |
Marble, dated 1841, formerly at Grittlcton
|
| 11956 |
House, sold Christic's, IJ]ndon, lot 5, 22
|
| 11957 |
September 1966. Commissioned 1837,
|
| 11958 |
completed 1839 (RA Ledger, p. 288),
|
| 11959 |
exhibited Royal Academy 1841 (no. 1325).
|
| 11960 |
Neeld was an inportant patron of English
|
| 11961 |
sculpture in the 1840s and 1850s. He was
|
| 11962 |
the great nephew of the Royal Silversmith
|
Philip Rundell.
|
| 11964 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 11965 |
@@PROCESS
|
| 11966 |
240
|
| 11967 |
@@PROCESS
|
| 11968 |
740
|
| 11969 |
@@PROCESS
|
| 11970 |
740. Admiral Horatio, lst Viscount
|
| 11971 |
NELSON ( 1758-1805)
|
| 11972 |
93.3 cms. (height)
|
| 11973 |
Unclcaned. A break in the nose (repaired), losscs
|
| 11974 |
to the nostrils and to the hair. Chips missing along
|
| 11975 |
the cdgc of. the base. A vertical crack from the base
|
| 11976 |
to the neck and a diagonal one from the base to
|
| 11977 |
below the shoulder.
|
| 11978 |
Chantrey Sft, no. 97; soclc label, no. 12; I.anc
|
| 11979 |
Poolc, no. 609.
|
| 11980 |
Marble versions in the Royal Collection and
|
| 11981 |
National Portrait Gallery (4309) dated 1835.
|
| 11982 |
Commissioned by William IV in 1833,
|
| 11983 |
completed and paid for 1836 (Potts, no. 9).
|
| 11984 |
@@PROCESS
|
| 11985 |
741. Sir John NICHOLL
|
| 11986 |
(1759-1838)
|
| 11987 |
73.5 cms. (height); 13.5 cms. (height of soclc)
|
| 11988 |
Uncleancd. Extensive flaking. Points visible.
|
| 11989 |
Chantrey Sft, no. 98; Irmc Poole, no. 610.
|
| 11990 |
Marble at Merthyr Mawr, Glamorgan.
|
| 11991 |
Commissioned 1832, completed and paid for
|
| 11992 |
1835 (RA Ledger, p. 248; see also Co#"try
|
| 11993 |
£¢/G (Nov. 1984), 1279). Nicholl was dean
|
| 11994 |
of Arches and a keen amateur scientist.
|
| 11995 |
@@PROCESS
|
| 11996 |
742. Joseph NOLLEKENS RA
|
| 11997 |
@@PROCESS
|
| 11998 |
741 ( 1737-1823)
|
| 11999 |
56.6 cms. (height, including soclc); 8.6 cms.
|
| 12000 |
(height of socle)
|
| 12001 |
Coated with whitewash, now grubby. Superficial
|
| 12002 |
losses to proper right of base of socle.
|
| 12003 |
Chantrey tift, no. 99; Irmc Pcole, no. 611.
|
| 12004 |
Marbles in Woburn Abbey (dated 1818) and
|
| 12005 |
the British Museum (Potts, no. 12).
|
| 12006 |
Commissioncd 1817 and 1818, and
|
| 12007 |
completed 1819 and 1820 (RA Iledger, pp.
|
| 12008 |
46, 63), exhibited 1817 (no. 1038, perhaps
|
| 12009 |
a§ a plaster) and 1818 (no. 1073, the Wobunl
|
| 12010 |
marble). Nollekens preceded Chantrey as the
|
| 12011 |
leading portrait sculptor in I.ondon and did
|
| 12012 |
much to encourage Chantrey's practice.
|
| 12013 |
@@PROCESS
|
| 12014 |
743. James NORTHCOTE RA
|
| 12015 |
(1746-1831)
|
| 12016 |
26.7 cms. (height from break in the front of`the
|
| 12017 |
neck to the top of the head)
|
| 12018 |
Plaster of Paris treated with sheuac and painted.
|
| 12019 |
The paint, now grey, flaking in parts. Broken across
|
| 12020 |
the neck.
|
| 12021 |
Chantrey dft, no. loo; I.anc Poole, no. 612.
|
| 12022 |
Exhibited Royal Academy 1812 (no. 932).
|
| 12023 |
See No. 652.
|
| 12024 |
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
|
| 12025 |
@@PROCESS
|
| 12026 |
744. Anne Lucy, Baroness
|
| 12027 |
NUGENT ( 1790-1848)
|
| 12028 |
62.6 cms. (height, including plinth); 7.5 cms.
|
| 12029 |
(heightofpLinth)
|
| 12030 |
Cleaned and recoatcd with shellac by Rachcl
|
| 12031 |
Kenward. Points visible, Name formerly painted on
|
| 12032 |
plinth (`Indy Nugcnt').
|
| 12033 |
Chantrey aft, no. 102 former soclc label, no. 7;
|
| 12034 |
hanc Pcolc, no. 614.
|
| 12035 |
Commissioned 1819, completed 1820, paid
|
| 12036 |
for 1826 (RA Ledger, p. 106), cxhibitcd
|
| 12037 |
Royal Academy 1820 (no. 1047). The Ledger
|
| 12038 |
records the commission as made by I<)rd
|
| 12039 |
Nugent (i.e. George, lst Baron Nugent)
|
| 12040 |
which confirms that the sitter was his wife,
|
| 12041 |
•as hone Poole conjectured. The unusual
|
| 12042 |
termination of the bust is inspired by the so-called
|
| 12043 |
C/#¢.e, a. famous bust portrait in Charles
|
| 12044 |
Townley's collection of antiquities which was
|
| 12045 |
acquired at Townley's death in 1804 by the
|
| 12046 |
British Museum.
|
| 12047 |
@@PROCESS
|
| 12048 |
745. General Sir Denis PACKE
|
| 12049 |
(1772.>-1823)
|
| 12050 |
72 cms. (height)
|
| 12051 |
Uncleaned. A chip missing at the base to proper
|
| 12052 |
left. Unusually red shellac on the face. Name
|
| 12053 |
painted on chamfercd portion at the lower edge of
|
| 12054 |
the chest (`Gcn' Packe') and incised in the model
|
| 12055 |
on the proper left side of the bust.
|
| 12056 |
Chantrey Sft, no. 103; socle label, no. 41; I.one
|
| 12057 |
Pcolc, no. 615.
|
| 12058 |
Commissioned 1826, completed and paid for
|
| 12059 |
1829 (RA Ledger, p. 192).
|
| 12060 |
@@PROCESS
|
| 12061 |
746. `Mr PERKINS'
|
| 12062 |
63.3 cms+ (height, including soclc); 12.2 cms.
|
| 12063 |
(height of socle)
|
| 12064 |
Clcancd (to plaster) by Mohammed Salch. Some
|
| 12065 |
vestiges of shellac remain. Points visible.
|
| 12066 |
Chantrey tlft, no. 104; I.anc Poolc, no. 616.
|
| 12067 |
Commissioned 1819, completed 1820 (RA
|
| 12068 |
Ledger, p. 109). Described in the Chantrey
|
| 12069 |
dft as `Mr Pcrkins, a brewer' and proposed
|
| 12070 |
by I.ane Poolc as Henry Perkins, bibliophile,
|
| 12071 |
a partner in the firm of Barclay, Perkins, &
|
| 12072 |
Co., brewers.
|
| 12073 |
@@PROCESS
|
241
|
| 12075 |
|
| 12076 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 12077 |
@@PROCESS
|
| 12078 |
747. Thomas PHILLIPS RA
|
| 12079 |
(1770-1845)
|
| 12080 |
63.I cms. (height, including soclc); 11 cms.
|
| 12081 |
(height of soclc)
|
| 12082 |
Unclcaned. Some flaking. Touched in, Scptcmber
|
| 12083 |
1989, by Kathlccn Kimbcr. Name painted on soclc.
|
| 12084 |
Chantrey gift, no. 105; I.one Poole, no. 617.
|
| 12085 |
Completed 1816 (RA Ledger, p.11) and
|
| 12086 |
cxhibitcd Royal Academy 1821 (no.1128).
|
| 12087 |
Phillips was a painter, chiefly of portraits, and
|
| 12088 |
Professor at the Royal Academy Schools.
|
| 12089 |
Lent to the National Trust, Belton House,
|
| 12090 |
hincolnshire, December 1989.
|
| 12091 |
@@PROCESS
|
| 12092 |
748. William PITT ( 1759-1806)
|
| 12093 |
78 cms. (height, including soclc); 13.2 cms.
|
| 12094 |
(height of sedc)
|
| 12095 |
Unclcancd. Nose broken off and lost. Old repair,
|
| 12096 |
now loose, at junction of bust with soclc. Name
|
| 12097 |
painted on soclc.
|
| 12098 |
Chantrey aft, no. 106; I+ane Poole, no. 618.
|
| 12099 |
Marble in Pembrokc College, Cambridge,
|
| 12100 |
commissioned 1832, completed and paid for
|
| 12101 |
1833 (RA Ledger, p. 253). Pitt was Tory
|
| 12102 |
Prime Minister 1783-1800. The portrait was
|
| 12103 |
posthumous. See also No. 653. Another
|
| 12104 |
plaster cast is at Cirenccster Park. The bust
|
| 12105 |
is derived from that by Nollckens.
|
| 12106 |
@@PROCESS
|
| 12107 |
749. John PIAYFAIR ( 1748-1819)
|
| 12108 |
70.1 cms. (height, including socle); 13.8 cms.
|
| 12109 |
(height of soclc)
|
| 12110 |
Uncleaned. Flaking. Touched in by Kathlecn
|
| 12111 |
RImber October 1989. Name painted on soclc
|
| 12112 |
(`Professorplayfur').
|
| 12113 |
Chantrey tift, no. 108; soclc label, no. 70; Lane
|
| 12114 |
Poole, no. 620.
|
| 12115 |
Marble in the Old Library, Edinburgh
|
| 12116 |
University. Commissioned 1812, completed
|
| 12117 |
and paid for 1815 (RA Ijedger, p. 22),
|
| 12118 |
exhibited Royal Academy 1814 (no. 782).
|
| 12119 |
Playfair was Professor of Natural Philosophy
|
| 12120 |
at Edinburgh University and a Fellow of the
|
| 12121 |
Royal Society.
|
| 12122 |
Lent to the National Trust, Belton,
|
| 12123 |
I.incolnshire, December 1989.
|
| 12124 |
@@PROCESS
|
| 12125 |
750. Richard PORSON
|
| 12126 |
(1759-1808)
|
| 12127 |
61.4 cms. (height)
|
| 12128 |
Cleaned and recoatcd with shellac by Rachel
|
| 12129 |
Kcnward. Points visible. Superficial chips missing
|
| 12130 |
from the drapery to proper right and along the front
|
| 12131 |
edge. Na.mc formerly painted on the proper right
|
| 12132 |
side of rcccssed base of bust ( `Professor Porson').
|
| 12133 |
Chantrey sift, no. 109; I.ane Poole, no. 621.
|
| 12134 |
@@PROCESS
|
| 12135 |
242
|
| 12136 |
The marble is incorporated in the monument
|
| 12137 |
in the antechapel of Trinity College,
|
| 12138 |
Cambridge. Porson was Rcgivs Professor of
|
| 12139 |
Greek at Cambridge and one of the greatest
|
| 12140 |
philolodsts of his day.
|
| 12141 |
@@PROCESS
|
| 12142 |
751. John RENNIE (1761-1821)
|
| 12143 |
78.5 cms. (height, including socle); 15.7 cms.
|
| 12144 |
(height of soclc including tablet)
|
| 12145 |
Uncleaned. Extensive flaking. Chips missing from
|
| 12146 |
proper right edge of bust. Name painted on socle.
|
| 12147 |
Chantrey Sft, no.Ill; I.anc Poolc, no. 623.
|
| 12148 |
Marble in the National Portrait Gallery (649)
|
| 12149 |
dated 1818 with a different style of soclc
|
| 12150 |
(Potts, no. 18). Another with the same date
|
| 12151 |
sold lot 125 at Christie's, Ijondon, 17 July
|
| 12152 |
1984. Commissioned January 1818 (RA
|
| 12153 |
Ledger, p. 58), one version exhibited Royal
|
| 12154 |
Academy 1818 (no. 1072). Rennie was one
|
| 12155 |
of the leading civil cngincers of his day.
|
| 12156 |
@@PROCESS
|
| 12157 |
752. Sir Henry RUSSELL Bt.
|
| 12158 |
(1751-1836)
|
| 12159 |
81.5 cms. (height, including socle); 12.7 cms.
|
| 12160 |
(height of socle)
|
| 12161 |
Uncleancd. Flaking. Small chip on his left eyelid.
|
| 12162 |
Name printed on socle (`Mr Russell').
|
| 12163 |
Chantrey ctft, no.113; socle label, no.121; 1mc
|
| 12164 |
Poole, no. 625.
|
| 12165 |
Commissioncd 1821, completed and paid for
|
| 12166 |
1823 (RA Ledger, p. 143). Russell was Chief
|
| 12167 |
Justice of the Supreme Court in Bengal.
|
| 12168 |
@@PROCESS
|
| 12169 |
753. Admiral John Jervis, Earl ST
|
| 12170 |
VINCENT ( 1735-1823)
|
| 12171 |
63,I cms. (height, including soclc); 10.3 cms.
|
| 12172 |
(height of sorlc)
|
| 12173 |
Uncleaned. Flaking, especially in drapery, forchcad,
|
| 12174 |
and nose. Eyeballs marked with pencil. Vestiges of
|
| 12175 |
nanc painted on soclc.
|
| 12176 |
Chantrey Sft, no. 130; I.ane I'oolc, no. 642.
|
| 12177 |
Commissioned 1815, completed 1816 (RA
|
| 12178 |
Ledger, p. 45 ), exhibited Royal Academy
|
| 12179 |
1816 (no. 949). A bust was also exhibited
|
| 12180 |
Royal Academy 1809 (no. 864)-this might
|
| 12181 |
have been a first version of which the 1815
|
| 12182 |
commission was a replica. St Vincent was one
|
| 12183 |
of the leading admirals of the Napoleonic
|
| 12184 |
War.
|
| 12185 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 12186 |
@@PROCESS
|
| 12187 |
753
|
| 12188 |
@@PROCESS
|
| 12189 |
754
|
| 12190 |
@@PROCESS
|
| 12191 |
756
|
| 12192 |
@@PROCESS
|
| 12193 |
754. Princess I.ouisa Wilhelma
|
| 12194 |
Adelaide of SAIE-lvEIMAR
|
| 12195 |
(1817-32)
|
| 12196 |
66.6 cms, (height, including §ocle); 13.2 cms.
|
| 12197 |
(height of socle)
|
| 12198 |
UncLeaned. Earlobes chipped, most gravely to
|
| 12199 |
proper right. Rfpaircd and touched in by KathJeen
|
| 12200 |
Kimbcr, October 1989. Vestiges of name palntcd
|
| 12201 |
on socle (`Princess . . . of saxc-Wcimar').
|
| 12202 |
Chantrey ctft. no. 116; fomer socle label, no. 9;
|
| 12203 |
I.anc Poolc, no. 628.
|
| 12204 |
Exhibited at the Royal Academy 1833 (no.
|
| 12205 |
1176). The princess was the daughter of
|
| 12206 |
Charles Bemard of saxe-Weimar and Princess
|
| 12207 |
Ida of Saxe-Meiningen.
|
| 12208 |
She died at Windsor Castle.
|
| 12209 |
Lent to the National Trust, Belton House,
|
| 12210 |
I.incolnshire, Dcccmber 1989.
|
| 12211 |
@@PROCESS
|
| 12212 |
755. James SCOTT (1770-1848)
|
| 12213 |
75. I cms. (height, including socle); 13.6 cms.
|
| 12214 |
(height of socle )
|
| 12215 |
Cleaned by Mohanmed Salch. Some shellac
|
| 12216 |
remains. Chips in the socle repaired. Origivally
|
| 12217 |
painted with the name `Scott Esq.' on the soclc.
|
| 12218 |
Chantrey dft, no.118; Ime Poolc, no. 630.
|
| 12219 |
Marble, dated 1833 and inscribed as
|
| 12220 |
presented to John Scott (the sitter's son), in
|
| 12221 |
the Royal College of surgeons. Commenced
|
| 12222 |
1831, completed 1833 (RA Ledger, p. 240).
|
| 12223 |
Potts (no. 20) conjectures that cithcr
|
| 12224 |
Chantrey or his wife had been treated by this
|
| 12225 |
eminent specialist on ulcers and rheumatism.
|
| 12226 |
I.anc Poole misidcntificd the sitter as the
|
| 12227 |
engraver John Scott ( 1774-1827).
|
| 12228 |
@@PROCESS
|
| 12229 |
756. Sir Walter SCOTI`
|
| 12230 |
(1771-1832)
|
| 12231 |
76. I cms. (height, including socLc); 13.4 cms.
|
| 12232 |
(height of soclc)
|
| 12233 |
Uncleaned. Flaking severely. Name printed on
|
| 12234 |
soclc.
|
| 12235 |
Chantrey dft, no. 117; socle label, no. 62.; I.one
|
| 12236 |
Poole, no. 629.
|
| 12237 |
Marbles at Abbotsford (dated 1822),
|
| 12238 |
Stratfield Saye (an autograph replica of the
|
| 12239 |
Abbotsford bust, dated 1826), Draycott
|
| 12240 |
Manor (dated 1828, a second version)-lso
|
| 12241 |
numerous later replicas of the Abbotsford
|
| 12242 |
bust, some probably produced by Chantrey's
|
| 12243 |
studio. The first version commissioned 1821,
|
| 12244 |
completed 1822 (RA Iiedgcr, p. 140),
|
| 12245 |
exhibited at the Royal Academy 1821 (no.
|
| 12246 |
I 133, presumably as a plaster). The second
|
| 12247 |
version (at Draycott, made for Sir Robert
|
| 12248 |
Peel) commenced and completed in 1828.
|
| 12249 |
(Potts, no. 14, discusses all vcrsion§.) The
|
| 12250 |
@@PROCESS
|
243
|
| 12252 |
|
| 12253 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 12254 |
Ashmolean's plaster is from the clay model
|
| 12255 |
for the first version. Scott, one of the most
|
| 12256 |
admired poets and the most popular novelist
|
| 12257 |
in Europe during his lifetime, became a
|
| 12258 |
personal ffiend of the sculptor.
|
| 12259 |
@@PROCESS
|
| 12260 |
757. Granville SIIARP ( 1735-1823)
|
| 12261 |
58.2 cms. (height. excluding socle); 13.6 cms.
|
| 12262 |
(height of soclc)
|
| 12263 |
Uncleaned. Flaking. A chip missing from his hair
|
| 12264 |
above the sitter's right ear. The socle has split in
|
| 12265 |
two owing to the rusting of an iron cramp and has
|
| 12266 |
bccn detached from the bust. Name painted on
|
| 12267 |
soclc.
|
| 12268 |
Chantrey gift, no.119; Lane Poolc, no. 631.
|
| 12269 |
Marble in the Guildhall, I.ondon, destroyed
|
| 12270 |
29 September 1940. Commissioned and
|
| 12271 |
complctcd 1826 (RA I.cdgcr, p. 183). Sharp
|
| 12272 |
was an eminent philanthropist,
|
| 12273 |
@@PROCESS
|
| 12274 |
758. Wihiam SIIARP ( 1749-1824)
|
| 12275 |
59.3 cms, (height, including socle); 11.8 cms.
|
| 12276 |
(height of soclc)
|
| 12277 |
Uncleaned. Slight flaking. A crack at the junction
|
| 12278 |
of bust and socle. Superficial damage to lower cdgc
|
| 12279 |
of chest to proper left. Socle rcpalred and colour
|
| 12280 |
touched in by Kathlccn Kimber, September 1989.
|
| 12281 |
Name painted on soc]c (`Wm. Sharp Engraver' )
|
| 12282 |
and incised in the model in neat capitals on the
|
| 12283 |
lower edge of chest (`Wm. Sharp Eng . . . er'); `F.L.
|
| 12284 |
Chantrey/Sculpt./1813' is incised in a fluent hand
|
| 12285 |
in the model on the back of the neck.
|
| 12286 |
Chantrey Sft, no. 120; socle label, no. 124; I.ane
|
| 12287 |
Poole, no. 632.
|
| 12288 |
Exhibited Royal Academy 1813 (no. 928).
|
| 12289 |
Sharp was a successful engraver.
|
| 12290 |
Lent to the National Trust, Bclton House,
|
| 12291 |
Lincolnshire, December 1989.
|
| 12292 |
@@PROCESS
|
| 12293 |
759. John Raphael SMITH
|
| 12294 |
(1752-1812)
|
| 12295 |
64.6 cms. (height, including socle); 12.4 cms.
|
| 12296 |
(height of socle)
|
| 12297 |
Coated with whitewash, now grubby.
|
| 12298 |
Cha.ntrey aft. no. 121; I.ane Poolc, no. 633.
|
| 12299 |
Marble dated 1825 in the Victoria and Albert
|
| 12300 |
Museum commissioned by Sir Simon Clarke
|
| 12301 |
1824, completed and paid for Dcccmber
|
| 12302 |
1827 (RA Ledger, p. 176), made from the
|
| 12303 |
plaster exhibited at the Royal Academy 1811
|
| 12304 |
(no. 936) (Potts, no. 10). Smith was an
|
| 12305 |
engraver and painter who spotted Chantrey
|
| 12306 |
when he was an apprentice to a frame maker
|
| 12307 |
in Sheffield and subsequently did much to
|
| 12308 |
promote his career in I.ondon.
|
| 12309 |
@@PROCESS
|
| 12310 |
244
|
| 12311 |
@@PROCESS
|
| 12312 |
760. Sir John SOANE RA
|
| 12313 |
(1753-1837)
|
| 12314 |
76.8 cms. (height, including socle); 13.2 cms.
|
| 12315 |
(height of soclc)
|
| 12316 |
Cleaned and rccoated with shellac by Rachcl
|
| 12317 |
Kcnward. Minor chips filled and loose junctions
|
| 12318 |
with soclc repaired. Points visible,
|
| 12319 |
Chantrey dft, no. 122; I.one Poolc, no. 634.
|
| 12320 |
Marble, presented by the sculptor, in Sir John
|
| 12321 |
Soanc museum, I.ondon. Commissioned
|
| 12322 |
1829, completed 1830, exhibited Royal
|
| 12323 |
Academy 1830. Soane was one of the leading
|
| 12324 |
architects of the period. In return for the bust
|
| 12325 |
Soa.ne designed the anteroom to Chantrey's
|
| 12326 |
gallery.
|
| 12327 |
@@PROCESS
|
| 12328 |
761. May SoMERVILLE
|
| 12329 |
(1780-1872)
|
| 12330 |
73.3 cms. (height, including socle); 12,4 cms.
|
| 12331 |
(height of socle)
|
| 12332 |
Superficially cleaned (to plaster). Much shellac and
|
| 12333 |
some paint remains. Points visible. Slight chips
|
| 12334 |
missing from the nose. Name painted on the socle
|
| 12335 |
(`Mrssomervillc').
|
| 12336 |
Chantrey aft, no. 123; I.one Poole, no. 635.
|
| 12337 |
Marble, da.ted 1840, in the Royal Society,
|
| 12338 |
Ilondon. Commissioned 1833, completed
|
| 12339 |
1836 (RA Ledger, p. 261), exhibited Royal
|
| 12340 |
Academy 1837 (no. 1272, specified as
|
| 12341 |
marble), paid for 1842 (Potts, no. 21, with a
|
| 12342 |
full account of the commission). There are
|
| 12343 |
oddities of dating for which several
|
| 12344 |
explanations can be advanced. The
|
| 12345 |
preliminary drawings for the portrait are dated
|
| 12346 |
1832 (before the commission) and the
|
| 12347 |
marble bust although exhibited in 1837 is
|
| 12348 |
dated 1840. Mrs Somervillc was a noted
|
| 12349 |
scientist.
|
| 12350 |
@@PROCESS
|
| 12351 |
762. Robert SOUTHEY
|
| 12352 |
(1774-1843)
|
| 12353 |
73.5 cms. (height, including soclc); 13.5 cms.
|
| 12354 |
(heightofscx:lc)
|
| 12355 |
Cleaned, the old join and shellac renewed by Rachcl
|
| 12356 |
Kcnward. Name formerly painted on socle.
|
| 12357 |
Chantrey gift, no. 124; I.anc Poole, no. 636.
|
| 12358 |
Marble, dated 1832, in National Portrait
|
| 12359 |
Gallery (3956). Commissioncd by John
|
| 12360 |
Murray 1828, completed 1832 (RA Ledger,
|
| 12361 |
p. 213), exhibited Royal Academy 1837 (no.
|
| 12362 |
1271, specified as marble). (Potts, no.15,
|
| 12363 |
discusses the circumstances of this
|
| 12364 |
commission and accounts for the delayed
|
| 12365 |
delivery. ) Southey was made Poet I.aureate
|
| 12366 |
in 1813. Hc was noted for his biographies as
|
| 12367 |
well as his poetry.
|
| 12368 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 12369 |
@@PROCESS
|
| 12370 |
763. George John, 2nd Earl
|
| 12371 |
SPENCER ( 1758-1834)
|
| 12372 |
54.6 cms. (height, including socle)
|
| 12373 |
Uncleaned. Three chips missing from front edge,
|
| 12374 |
two to proper left. Name painted on front cdgc of
|
| 12375 |
chest to proper richt.
|
| 12376 |
Chantrey 5ft, no. 125; I,anc Poolc, no. 637.
|
| 12377 |
Commissioned 1818, completed 1820 (RA
|
| 12378 |
I.edger, p. 72), exhibited Royal Academy
|
| 12379 |
1819 (no. 1216).
|
| 12380 |
@@PROCESS
|
| 12381 |
763 764. Thomas STOTIIARD RA
|
| 12382 |
(1755-1834)
|
| 12383 |
59.5 cms. (including soclc); 9.8 cms. (height of
|
| 12384 |
soclc, including tablet)
|
| 12385 |
Cleaned (to plaster) by Mohammcd Salch. Vestiges
|
| 12386 |
of shellac remain. Points visible in hair. Incised in
|
| 12387 |
neat capitals in the model along the front cdgc
|
| 12388 |
`THOMAS STOTHARD R.A..
|
| 12389 |
Chantrey aft, no. 127; I.anc Poole, no. 639.
|
| 12390 |
Exhibited Royal Academy 1812 (no. 927).
|
| 12391 |
Stothard was a painter, a prolific illustrator,
|
| 12392 |
and a friend of the sculptor.
|
| 12393 |
@@PROCESS
|
| 12394 |
765. Wilhan STRUTT
|
| 12395 |
(1756-1830).
|
| 12396 |
73.5 cms. (height, including socle); 14.3 cms.
|
| 12397 |
(height of socle)
|
| 12398 |
Unclcancd. Extcnsivc flaking especially on face.
|
| 12399 |
Hole in base of socle. Name painted on soclc
|
| 12400 |
(`Strutt,)+
|
| 12401 |
Chantrey gift, no. 128; Lane Poole, no. 640.
|
| 12402 |
Marble, dated 1841, in Derby Museum and
|
| 12403 |
Art Gallery. Commissioned 1835, completed
|
| 12404 |
1840 (RA Ledger, p. 273). Identified by I.ane
|
| 12405 |
Poole as Joseph Strutt, but by Potts (no. 22)
|
| 12406 |
as a posthumous portrait of william of the
|
| 12407 |
sane family. The latter was an industrialist,
|
| 12408 |
philanthropist, economist, and inventor.
|
| 12409 |
@@PROCESS
|
| 12410 |
766. Wmam STUART, archbishop
|
| 12411 |
of inagh ( 1755-1822)
|
| 12412 |
71 cms. (height, including socle); 13.4 cms.
|
| 12413 |
(height of socle)
|
| 12414 |
Unclcancd. The carlobc and the back of the head
|
| 12415 |
to proper right slightly chipped. Name painted on
|
| 12416 |
socle.
|
| 12417 |
Chantrey dft, no. 129; Ime Pcole, no. 641.
|
| 12418 |
Marble in the Victoria and Albcrt Museuni
|
| 12419 |
(A.137-1956). `
|
| 12420 |
@@PROCESS
|
245
|
| 12422 |
|
| 12423 |
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
|
| 12424 |
@@PROCESS
|
| 12425 |
767. Augustus Frederick, duke of
|
| 12426 |
SUSSEX ( 1773-1843)
|
| 12427 |
81.7 cms. (height, including soclc); 10.7 cms.
|
| 12428 |
(height of soclc)
|
| 12429 |
Uncleancd. Chip at the front of the base of the
|
| 12430 |
soclc. Name painted on soclc (`H.RH. the Duke
|
| 12431 |
of sussex.).
|
| 12432 |
Chantrey aft, no. 132; soclc label, no, 60; I.ane
|
| 12433 |
Poole. no. 644.
|
| 12434 |
Marble in the Frccmason's Hall, I|)ndon.
|
| 12435 |
Commissioned 1829 by the Royal ljodge of
|
| 12436 |
Freemasons, completed 1831 (RA Ledger, p.
|
| 12437 |
@@PROCESS
|
| 12438 |
224), exhibited Royal Academy 1832 (no.
|
| 12439 |
1218). The duke of sussex was the sixth son
|
| 12440 |
of King Gcorgc Ill. He was a Whig in politics
|
| 12441 |
in opposition to the rest of his finily.
|
| 12442 |
@@PROCESS
|
768. George Granville Levcson-
|
| 12444 |
Gower, 2nd duke of
|
| 12445 |
SUTHERI.AND ( 1786-1861)
|
| 12446 |
75.2 cms. (height, including soclc); 12.4 cms.
|
| 12447 |
(height of socle)
|
| 12448 |
Unclcaned. Slight flaking cspccially in drapery.
|
| 12449 |
Nanc painted on soclc.
|
| 12450 |
Chantrey Sft, no. 133; I.anc Poole, no. 645.
|
| 12451 |
Marble, dated 1829, in the Royal
|
| 12452 |
Hordcultural Society, I.ondon.
|
| 12453 |
Commissioned 1828; exhibited Royal
|
| 12454 |
Academy 1829 (no. 1203, as marquess of
|
| 12455 |
Stafford), paid for 1830 (Potts, no. 25). A
|
| 12456 |
replica was commissioncd by the duchess in
|
| 12457 |
1829 and completed in 1830. This is in the
|
| 12458 |
National Portrait Gallery, I.ondon ( 5597).
|
| 12459 |
The duke was one of the wealthiest men in
|
| 12460 |
Britain.
|
| 12461 |
@@PROCESS
|
| 12462 |
769. Charles Manners SUTroN,
|
| 12463 |
archbishop of Canterbury
|
| 12464 |
(1755-1828)
|
| 12465 |
56,5 cms. (height, excluding socle); 11.6 cms.
|
| 12466 |
(height of sorlc )
|
| 12467 |
Unclcaned. Bust detached ffom soclc which is
|
| 12468 |
broken in two pieces. The nose and proper left
|
| 12469 |
carlobe broken off (fragments survive). Name
|
| 12470 |
palntcd on soclc.
|
| 12471 |
Chantrey aft, no. 134; soclc label, no. 57; hanc
|
| 12472 |
Poole, no, 646.
|
| 12473 |
The commission sccms not to be recorded in
|
| 12474 |
the RA Ledger. A plaster cast of the marble
|
| 12475 |
is in Emmanuel Concgc hibrary, Cambridge.
|
| 12476 |
@@PROCESS
|
| 12477 |
246
|
| 12478 |
@@PROCESS
|
| 12479 |
770. George Watson TAYLOR MP
|
| 12480 |
(d. 1841)
|
| 12481 |
69.7 cms. (height, including socle); 11.7 cms.
|
| 12482 |
(height of soclc)
|
| 12483 |
Uncleaned. Flaking on drapery. Socle dctachcd and
|
| 12484 |
refixed. Chips to front of soclc to proper left.
|
| 12485 |
Chantrey Sft, no. 135; I.arc Poolc, no. 647.
|
| 12486 |
Commis§ioned 1819, completed 1820, a.nd
|
| 12487 |
noted as unpaid (RA Ledger, p. 89), exhibited
|
| 12488 |
Royal Academy 1820 (no. 1044). Taylor was
|
| 12489 |
MP for Devizes.
|
| 12490 |
@@PROCESS
|
| 12491 |
771. Sir Matthew TIERNEY Bt.
|
| 12492 |
(1776-1845)
|
| 12493 |
73 cms. (height, including socle); 12.9 cms.
|
| 12494 |
(height of socle)
|
| 12495 |
Uncleaned. Superficial losses to back of proper left
|
| 12496 |
shoulder. Point of nose broken off, refixed, and
|
| 12497 |
detached. Name painted on socle.
|
| 12498 |
Chantrey Sft, no. 136; socle label, no. 80; Irme
|
| 12499 |
Poole. no. 648.
|
| 12500 |
Commissioned 1827, completed 1828, and
|
| 12501 |
presented by the sculptor to I.ady Tiemey (RA
|
| 12502 |
Ledger, p. 202), perhaps in gratitude for
|
| 12503 |
medical services. Tiemey was physician to
|
| 12504 |
RIng George IV and RIng William IV.
|
| 12505 |
@@PROCESS
|
| 12506 |
772. Thomas TOMKINS
|
| 12507 |
(1743-1816)
|
| 12508 |
59.6 cms. (height, including soclc); 10,2 cms.
|
| 12509 |
(height of socle )
|
| 12510 |
Cleaned, losses to upper tip and forchcad filled, and
|
| 12511 |
shellac rencwcd by Rachcl Kcnward. Chips missing
|
| 12512 |
from curl over proper left car and to base of socle.
|
| 12513 |
The nose and upper lip were broken off and
|
| 12514 |
rcattached probably in the last century: the join is
|
| 12515 |
very obvious. Name formerly painted on socle
|
| 12516 |
`Tompkins Esq'.
|
| 12517 |
Chantrey Sft, no. 137; I.anc Poolc, no. 649.
|
| 12518 |
Marble in the British Museum dated 1816.
|
| 12519 |
Commissioncd 1816, completed 1817 (RA
|
| 12520 |
Ledger, p. 39); exhibited Royal Academy
|
| 12521 |
presumably as a cast 1816 (no. 948).
|
| 12522 |
Tomkins was author of the BG¢„fS.GJ a/
|
| 12523 |
Wr!.f!."g. He kept a writing school in
|
| 12524 |
Ilondon. The identification is due to lane
|
| 12525 |
Poole who noted the similarity with an
|
| 12526 |
engraving of a portrait of Tomkins by
|
| 12527 |
Englcheart.
|
| 12528 |
@@PROCESS
|
| 12529 |
767
|
| 12530 |
@@PROCESS
|
| 12531 |
768
|
| 12532 |
@@PROCESS
|
| 12533 |
770
|
| 12534 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 12535 |
@@PROCESS
|
| 12536 |
773. John Home TOORE
|
| 12537 |
(1736-1812)
|
| 12538 |
63.5 cms, (height, including socle); 8 cms.
|
| 12539 |
( height of socle)
|
| 12540 |
Coated with whitewash, now grubby. Flaking
|
| 12541 |
around nose and proper right eyebrow probably
|
| 12542 |
indicates rcpalrs. Crack bctwecn bust and socle
|
| 12543 |
repaired. Incised in the model on the back of the
|
| 12544 |
bust: `modelled by F.L.
|
| 12545 |
Chantrey/Published/December I/1810.
|
| 12546 |
Chantrey Sft, no. 138; I.ane Poole, no. 650.
|
| 12547 |
Marble in the Fitzwilliam Museum,
|
| 12548 |
Cambridge. Exhibited Royal Academy 1811
|
| 12549 |
(no. 945). The incised inscription on the
|
| 12550 |
plaster suggests that an edition in plaster was
|
| 12551 |
probably available in 1810, perhaps previous
|
| 12552 |
to the completion of the marble. The bust
|
| 12553 |
exhibited 1811 may also have been a plaster,
|
| 12554 |
but the RA I.edger (p. 81) records a version
|
| 12555 |
commissioned 1818 and completed 1820 at
|
| 12556 |
a reduced price ( loo guineas) appropriate for
|
| 12557 |
a replica-this was not paid for and the bust
|
| 12558 |
was presented by Lady Chantrey to the
|
| 12559 |
Fitzwilliam in 1861. Potts (no. 5) does not
|
| 12560 |
discuss the bust exhibited in 1811 or the
|
| 12561 |
inscription on the plaster. Chantrey's bust of
|
| 12562 |
Tookc's political ally and fiiend Burdctt was
|
| 12563 |
also available in a plaster edition (see No.
|
| 12564 |
@@PROCESS
|
| 12565 |
694). Tooke, a philologist and radical
|
| 12566 |
politician, was a close friend of Chantrey and
|
| 12567 |
did much to support him in his early years in
|
| 12568 |
London. The bust is shown in a pastel portrait
|
| 12569 |
by Cha.ntrey's ffiend John Raphael Smith
|
| 12570 |
dated July 1811 of Tooke's illegitimate
|
| 12571 |
daughters Mary and Charlotte Hart (lot 43,
|
| 12572 |
Sotheby's, I.ondon, 16 November 1988).
|
| 12573 |
@@PROCESS
|
| 12574 |
774. Queen VICTORIA
|
| 12575 |
(1819-1901)
|
| 12576 |
69.6 cms. (height, including socle); 12.2 cms.
|
| 12577 |
(height of socle)
|
| 12578 |
Clcancd, base repaired, and shellac renewed by
|
| 12579 |
Rachcl Kenward. An iron dowcl (shightly rusting)
|
| 12580 |
visible at the top of the soclc. Some points visible.
|
| 12581 |
Chantrey 5ft, no. 140; former soclc label, no. 59;
|
| 12582 |
Lane Poolc, no. 652.
|
| 12583 |
Marble, dated 1839, at Windsor Castle.
|
| 12584 |
Replica, dated 1841, in National Portrait
|
| 12585 |
Gallery (1716). First Commissioned 1838,
|
| 12586 |
complctcd and paid for 1840 (RA Ledger, p.
|
| 12587 |
@@PROCESS
|
| 12588 |
294), exhibited Royal Academy 1840 (no.
|
1070, specified as marble).
|
| 12590 |
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
|
| 12591 |
@@PROCESS
|
| 12592 |
775. `Mr WARP'
|
| 12593 |
57.5 cms. (height, including soclc); 11.4 cms.
|
| 12594 |
(height of socle, including tablet)
|
| 12595 |
Cleaned (to plaster) by Mohammed Saleh, Vestiges
|
| 12596 |
of shellac in the hair. Much of the surface scoured.
|
| 12597 |
Deep scratches on temple to proper right.
|
| 12598 |
Chantrey aft, no. 141; I.anc Poole, no. 653.
|
| 12599 |
There is no record of this commission in the
|
| 12600 |
Royal Academy I.cdger. In the early lists of
|
| 12601 |
the Sfts the sitter is identified simply as `Mr
|
| 12602 |
Warp, merchant'. The marble was lot 149,
|
| 12603 |
Christie's, I.ondon, 24 September 1987 as `A
|
| 12604 |
rare early nineteenth century English marble
|
| 12605 |
bust of an elderly gentleman' chiselled
|
| 12606 |
`CHANTREy, SCULPTOR 1816'.
|
| 12607 |
@@PROCESS
|
| 12608 |
776. James WATT (1736-1819)
|
| 12609 |
65.9 cms. (height, including socle); 12.6 cms.
|
| 12610 |
(heightofsocle)
|
| 12611 |
Uncleancd, Extensive flaking especially on face.
|
| 12612 |
Vestiges of name painted on soclc.
|
| 12613 |
Chantrey rift, no. 143; soclc Label, no, 124; I.ane
|
| 12614 |
Pcolc, no. 655.
|
| 12615 |
Numerous marble versions, of which that in
|
| 12616 |
the possession of I.ord Gibson-Watt (Potts,
|
| 12617 |
no. 16) is likely to be the second made. The
|
| 12618 |
first, commissioned by Watt himself in 1814,
|
| 12619 |
completed and exhibited Royal Academy in
|
| 12620 |
1815 (no. 886), probably passed, on Watt's
|
| 12621 |
death, to Matthew Boulton. The replica
|
| 12622 |
ordered by Jancs Wan junior, the engiveer's
|
| 12623 |
son, in 1822 was supplied and paid for in the
|
| 12624 |
same year (RA Ledger, p. 136-Potts dates
|
| 12625 |
this transaction to 1816 presumably because
|
| 12626 |
the bust with which hc identifies it is dated
|
| 12627 |
1816, but the bust may have been made
|
| 12628 |
previous to the order). Watt invented, among
|
| 12629 |
much else, an improved steam engive. Scc
|
| 12630 |
No. 663.
|
| 12631 |
@@PROCESS
|
| 12632 |
777. Arthur Wellesley, duke of
|
| 12633 |
WELLINGTON ( 1769-1852)
|
| 12634 |
77.9 cms. (height, including socle); 12.I cms.
|
| 12635 |
(height of sorlc)
|
| 12636 |
Unclcaned, Stight flaking. Some scratches to the
|
| 12637 |
drapery. Chips missing to hair and to eyebrow to
|
| 12638 |
proper right. loose on socLe.
|
| 12639 |
Chantrey Sft, no. 146; I.one Poole, no. 658.
|
| 12640 |
Marbles at Windsor Castle, dated 1828,
|
| 12641 |
Buckingham Palace, dated 1837, and
|
| 12642 |
Petworth House. The latter version
|
| 12643 |
commissioned by the earl of Egremont in
|
| 12644 |
1828, completed in the same year, and paid
|
| 12645 |
for 1831 (RA Ledger, p. 206) and that
|
| 12646 |
commissioned by Ilord Brownlow 1836,
|
| 12647 |
@@PROCESS
|
| 12648 |
248
|
| 12649 |
completed 1840 (ibid. 278), arc likely to be
|
replicas. Wellington was Commander-in-
|
| 12651 |
Chief of the British Army in the Napoleonic
|
| 12652 |
Wars and subsequently Tory Prime Minister,
|
| 12653 |
1827-30. See No. 778.
|
| 12654 |
@@PROCESS
|
| 12655 |
778. Arthur Wellesley, duke of
|
| 12656 |
WELLINGTON ( 1769-1852)
|
| 12657 |
83.5 cms. (height)
|
| 12658 |
Coated with whitewash. now grubby and flaking in
|
| 12659 |
several spots on the face revealing dirt below. A
|
| 12660 |
stight chip also lower front of chest to proper right.
|
| 12661 |
Chantrey Sft, no. 147; hanc Poolc, no. 659.
|
| 12662 |
Modelled in 1814, laid aside until 1835, when
|
| 12663 |
sold (RA Ledger, p. 189). See No. 777.
|
| 12664 |
@@PROCESS
|
| 12665 |
779. Benjamin WEST PRA
|
| 12666 |
(1738-1820)
|
| 12667 |
61.7 cms. (height, including socle); 10.7 cms.
|
| 12668 |
(hcightofsoclc)
|
| 12669 |
Bust coated with whitewash, now grubby and
|
| 12670 |
flaking. Socle uncleaned and uncoated, A large
|
| 12671 |
repaired break bctwccn soclc and bust now loose.
|
| 12672 |
Name painted on socle.
|
| 12673 |
Chantrey Sft, no. 148; I.ane Poole, no. 660.
|
| 12674 |
Marbles in the Royal Academy and the
|
| 12675 |
National Portrait Gallery, I.ondon (607), both
|
| 12676 |
dated 1818. The latter was commissioned
|
| 12677 |
1817, completed 1818 (Potts, no.11, RA
|
| 12678 |
Ledger, p. 29); the former was exhibited
|
| 12679 |
Royal Academy 1818 (no.1104) and
|
| 12680 |
presented by the sculptor to the Academy
|
| 12681 |
(RA Ledger, p. 83). Both were based on the
|
| 12682 |
plaster model exhibited at the Royal Academy
|
| 12683 |
in 1811. West was President of the Royal
|
| 12684 |
Academy 1792-1820. He was one of the
|
| 12685 |
leading history painters in Britain.
|
| 12686 |
@@PROCESS
|
| 12687 |
780. Robert Grosvenor, lst
|
| 12688 |
marquess of WESTMINSTER
|
| 12689 |
(1767-1847)
|
| 12690 |
79.9 cms. (height, including socle); 13.3 cms.
|
| 12691 |
(height of soclc)
|
| 12692 |
Uncleaned. Flaking, especially in drapery. An
|
| 12693 |
unusually red shellac on the face. Name painted on
|
| 12694 |
socle.
|
| 12695 |
Chantrey Sft, no. 149; Imc Poole, no. 661.
|
| 12696 |
Marble dated 1838 recorded at Eaton Hall,
|
| 12697 |
Chcshirc, by Gunnis. Commissioncd 1831,
|
| 12698 |
completed 1839, paid for 1842 (RA Ledger,
|
| 12699 |
p. 236). The marquess was one of the
|
| 12700 |
wealthiest men in Britain.
|
| 12701 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 12702 |
@@PROCESS
|
| 12703 |
781. REg WILLIAM IV
|
| 12704 |
(1765-1837)
|
| 12705 |
78,6 cms, (height, including socle); 13,3 cms,
|
| 12706 |
(height of soclc)
|
| 12707 |
Coated with whitewash, now grubby.
|
| 12708 |
Chantrey dft, no. 150; I.ape Poolc, no. 662.
|
| 12709 |
Marbles at Pcnshurst Place, Kent (dated
|
| 12710 |
1831 ); Buckingham Palace; Windsor Castle
|
| 12711 |
(dated 1837); the Goldsmith's Company
|
| 12712 |
(dated 1835); the Royal Academy (dated
|
| 12713 |
1841 ); Eton College. The Penshurst version
|
| 12714 |
commissioned 1829, exhibited Royal
|
| 12715 |
Academy 1831 (no.1190). Replica
|
| 12716 |
commissioned 1830 for the Goldsmiths'
|
| 12717 |
Company, completed 1835 (Potts, no. 3),
|
| 12718 |
another commissioned 1836 for Eton
|
| 12719 |
College, completed 1838, and paid for 1839
|
| 12720 |
(RA Ledger, p. 280).
|
| 12721 |
@@PROCESS
|
| 12722 |
782. Horace Hayman WII.SON
|
| 12723 |
(1786-1860)
|
| 12724 |
78.6 cms. (height, including soclc); 13.6 cms.
|
| 12725 |
(height of socle)
|
| 12726 |
Uncleancd. Proper left eyelid chipped. Name
|
| 12727 |
painted on soclc.
|
| 12728 |
Chantrey gift, no. 151; I.anc Poolc, no. 663.
|
| 12729 |
Commissioned 1835 for the Asiatic Society
|
| 12730 |
of Bengal, Calcutta, completed 1837 (RA
|
| 12731 |
Ijedger, p. 272), exhibited Royal Academy
|
| 12732 |
1837 (no. 1286, specified as marble). Wilson
|
| 12733 |
was Professor of Sanskrit in the University of
|
| 12734 |
Oxford.
|
| 12735 |
@@PROCESS
|
| 12736 |
783. Wflhian Hyde WOLIASTON
|
| 12737 |
(1766-1828)
|
| 12738 |
72.3 cms. (height, including socle); 12.9 cms.
|
| 12739 |
(height of §acle)
|
| 12740 |
Uncleaned. Name painted on soclc ( `W.H.
|
| 12741 |
Wollaston, M.D.'). Incised in the model on the
|
| 12742 |
back `F.C.' in a very cursive hand and `DIED 22. D£C.
|
| 12743 |
1828/WILLIAM HyDE WOLLASTON/M.D. V.P.RS.'
|
| 12744 |
Chantrcy Sft, no. 152; socle Label, no. 128; Ime
|
| 12745 |
Poole, no, 664.
|
| 12746 |
Commissioned 1829, completed 1830, paid
|
| 12747 |
for 1832 (RA Ledger, p. 221). Wollaston
|
| 12748 |
was a Fellow and Vice-Pre§idcnt of the Royal
|
| 12749 |
Society.
|
| 12750 |
@@PROCESS
|
| 12751 |
782
|
| 12752 |
@@PROCESS
|
249
|
| 12754 |
|
| 12755 |
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
|
| 12756 |
@@PROCESS
|
| 12757 |
784. William WORDSWORTH
|
| 12758 |
(1770-1850)
|
| 12759 |
57.5 cms. (height)
|
| 12760 |
Clcancd (to plaster) by Mohanmed Saleh. Points
|
| 12761 |
visible.
|
| 12762 |
Chantrey dft, no. 153; I-anc Poole, no. 665.
|
| 12763 |
Marble bust, dated 1822, Liby Library,
|
| 12764 |
University of Indiana, Bloomington.
|
| 12765 |
Commissioned by Sir George Beaumont
|
| 12766 |
1820, completed and paid for 1821 (RA
|
| 12767 |
Ledger, p. 118), exhibited Royal Academy
|
| 12768 |
1821 (no.1134). Potts, no.13. A plaster
|
| 12769 |
cast, presumably supplied by Chantrey, was
|
| 12770 |
in Scott's study at Abbots ford by 1832. By
|
| 12771 |
1822 Wordsworth enjoyed great fame as a
|
| 12772 |
poet, and by 1830 he was the most admired
|
| 12773 |
living British poet.
|
| 12774 |
@@PROCESS
|
| 12775 |
785. Sir Jeffrey WYATVILLE RA
|
| 12776 |
(1766-1840)
|
| 12777 |
74.I cms. (height, including soclc); 13.8 cms.
|
| 12778 |
(height of socle)
|
| 12779 |
Uncleaned. Flaking extensively. Nanc painted on
|
| 12780 |
socle.
|
| 12781 |
Chantrey 5ft, no. 154; I.ane Poole, no. 666.
|
| 12782 |
Marble at Windsor Castle, dated 1837.
|
| 12783 |
Commissioned 1835, completed 1840 (RA
|
| 12784 |
Ledger, p. 274), exhibited 1837 (no. 1285).
|
| 12785 |
Wyatville was one of the most successful
|
| 12786 |
architects of his generation.
|
| 12787 |
@@PROCESS
|
| 12788 |
250
|
| 12789 |
APPENDIX 11
|
| 12790 |
British Furniture in the Ashmolean Museum
|
| 12791 |
This list, unlike those for other schools, is not complete. Some
|
| 12792 |
of the chairs and tables-mostly modern ones, but also some
|
| 12793 |
which are old but commonplace-used by the Museum staff in
|
| 12794 |
their offices or by the invi$1ators in the galleries are not included.
|
| 12795 |
Also I have listed only a few of the display cases. With reluctance
|
| 12796 |
I have omitted the handsome gallery furniture commissioned or
|
| 12797 |
acquired by C. F. Bell-for instance, the six walnut bracketed
|
| 12798 |
wall cases (`slopes') used for the plaquettcs and medals and
|
| 12799 |
originally also for the miniatures; the walnut table supporting
|
the brass-framed glass case at present containing the Hispano-
|
| 12801 |
Morcsque ware; the six walnut curule chairs; and the oak sloping
|
| 12802 |
case now used for the display of drawings. Also noteworthy are
|
| 12803 |
the cases, of shedua and American black walnut, made in recent
|
| 12804 |
years by John Milncs for the drawings, the porcelain, and the
|
| 12805 |
textiles, and the walnut display cases on columnar supports made
|
| 12806 |
for the Hill couection of musical instruments in the 1930s
|
| 12807 |
previous to their donation to the Museum.
|
| 12808 |
This list, like those of furniture of other schools, docs not
|
| 12809 |
include frames, nor clock cases (although some of the English
|
| 12810 |
1. Court cupboard of walnut and other
|
| 12811 |
woods with lion and unicorn supporters. I,ate
|
| 12812 |
sixteenth century. Cat. No. 600.
|
| 12813 |
2. Octagonal table of oak with a single solid
|
| 12814 |
octagonal support ornamented with
|
| 12815 |
caryatids. Probably late sixteenth century in
|
| 12816 |
parts. Cat. No. 601.
|
| 12817 |
3. Small coffer of oak, the front and lid and
|
| 12818 |
spandrels carved with abstract patterns,
|
| 12819 |
`Edward Braye 1601' chiselled prominently
|
| 12820 |
on the front. No provenance recorded. A
|
| 12821 |
cutting from a sale catalogue gives
|
| 12822 |
Knaresborough Castle as source. Neither the
|
| 12823 |
ornamental carving nor the lettering look
|
| 12824 |
genuine in style: both were probably added
|
| 12825 |
to a coffer, probably of the sixteenth or
|
| 12826 |
seventeenth century, which was decorated
|
| 12827 |
only with notched comers.
|
| 12828 |
4. Chest of oak and walnut, carved with
|
| 12829 |
arcading and flutcd frieze. I.ate sixteenth
|
| 12830 |
century. No provenance recorded. The chest
|
| 12831 |
would oriSnally have been ornamented with
|
| 12832 |
stumpy pilasters supporting the arches. Its
|
| 12833 |
feet have also been cut down. It retains what
|
| 12834 |
may be origival pin hinges.
|
| 12835 |
5. Side table (`Credencc table') of oak with
|
| 12836 |
a hinged top, octagonal when open, carved
|
| 12837 |
with an arcaded frieze including fluting and
|
| 12838 |
ribbing between consoles, on five legs of
|
| 12839 |
ribbed baluster form (of which the back one
|
| 12840 |
long-case clocks are of lacquer and marquetry). Only one coin
|
| 12841 |
cabinet is listed here-the Combe cabinet which, like the Boulle
|
| 12842 |
medal cabinet and the Fitzwilliam p¢.Gfr¢ d#7i¢ cabinet (listed
|
| 12843 |
under French and Italian furniture), is on display outside the
|
| 12844 |
Heberden Coin Room. Other fine, if less ornamental, British
|
| 12845 |
coin cabinets arc preserved within the Coin Room itself.
|
| 12846 |
In making this list, I have made use of a shorter one compiled
|
| 12847 |
in 1970 by Paul Viney of Phillips, Oxford. I have received much
|
| 12848 |
advice on the earlier furniture from Edwin Willson. Ray Ansty
|
| 12849 |
and John Brazier have provided me with much help identifying
|
| 12850 |
the woods.
|
| 12851 |
The Sft of Elizabeth Mallctt in 1961 was made in memory
|
| 12852 |
of her parents Francis (himself a very notable benefactor) and
|
| 12853 |
Margaret. The bequest of Ijady Henriques in 1953 was made
|
| 12854 |
in memory of her son Brydges Henriques (1894-1915). The
|
| 12855 |
exact contents of the latter bequest arc unfortunately far from
|
| 12856 |
clear and to avoid future confusion I have included in parcnthcsis
|
| 12857 |
the corresponding descriptions in the lists made at the time.
|
| 12858 |
slides out to support the open top), the four
|
| 12859 |
fi.ont legs on a plinth with six bun feet (the
|
| 12860 |
back leg with its own bun foot). Early
|
| 12861 |
seventeenth century. Thought to have been
|
| 12862 |
presented by Elias Ashmolc in 1683.
|
| 12863 |
6. `Thrown Chair' of ash and oak with a
|
| 12864 |
triangular seat and a franc of numerous
|
| 12865 |
knobbly turned members. Perhaps early
|
| 12866 |
seventeenth century. No provenance
|
| 12867 |
recorded. Such chairs were collected by
|
| 12868 |
antiquaries from Horace Walpole onwards in
|
| 12869 |
the crroncous belief they were medieval.
|
| 12870 |
Many imitations were made in the last
|
| 12871 |
century. See C. Wainwright, 777c Roow¢##.c
|
| 12872 |
J#fGr¢.or (I.ondon and New Haven, Conn. ,
|
| 12873 |
1989), 58-9.
|
| 12874 |
7. Chest of oak, decorated on the front with
|
| 12875 |
a band of geometric inlay of bog oak and
|
| 12876 |
holly in a dogtooth pattern framing three
|
| 12877 |
panels carved with geometric patterns within
|
| 12878 |
lozenges. Early to mid-seventeenth century.
|
| 12879 |
No provenance recorded. The feet have been
|
| 12880 |
cut down.
|
| 12881 |
8. Chest or cupboard of oak, the front
|
| 12882 |
panel, which is hinged at the top, framed by
|
| 12883 |
Ionic baluster pilasters, half pilasters also at
|
| 12884 |
the back of both sides, and front and sides
|
| 12885 |
richly carved with strapwork, acanthus,
|
| 12886 |
palmettes, etc. Early to mid-seventeenth
|
| 12887 |
century in style. No provenance recorded.
|
| 12888 |
The purpose of such a piece of furniture is
|
| 12889 |
not easy to explain and parallels are hard to
|
| 12890 |
find. It is probably a pastiche.
|
| 12891 |
9. Armchair of oak with a panel back, carved
|
| 12892 |
with stylized birds and trees francd with
|
| 12893 |
geometric inlay in holly and bog oak, the top
|
| 12894 |
rat with a scrolled crest, the downswept arms
|
| 12895 |
of square section, the other members (legs,
|
| 12896 |
front and side stretchers, and arm supports)
|
| 12897 |
all tuned, the legs on blqck feet. Mid to late
|
| 12898 |
seventeenth century and provincial in style.
|
| 12899 |
No provenance recorded. The top rail is a
|
| 12900 |
replacement. Brass plaque behind the back
|
| 12901 |
claims that the chair was the one in which
|
| 12902 |
`Clarke was murdered by Eugene Aran and
|
| 12903 |
Houseman on 7th or 8th of Jan. 1744 or
|
| 12904 |
1745, and purchased by Miss Denison
|
| 12905 |
afterwards Mrs Jackson of Huby, on the sale
|
| 12906 |
of the murdered man's effects at Knaresbro. '
|
| 12907 |
The story of Aram, a considerable scholar,
|
| 12908 |
and his murder of Daniel Clark(c) is given
|
| 12909 |
undc[ Aram in tl\c Dictionary Of National
|
| 12910 |
Biograpky.
|
| 12911 |
10. Amchair of walnut with a cared seat and
|
| 12912 |
back panel, double-bind spiral legs and
|
| 12913 |
stretchers, columnar posts, slightly dipped
|
| 12914 |
moulded arms with some foliage at the
|
| 12915 |
scrolled front ends, the high front rail, top
|
| 12916 |
rail, and the franc of the back panel all of a
|
| 12917 |
flat foliate pattern a.1680. No provena.nce
|
| 12918 |
@@PROCESS
|
251
|
| 12920 |
|
| 12921 |
APPENDIX II BRITISH FURNITURE INTHE ASHMOLEAN MUSEUM
|
| 12922 |
recorded. The chair is very similar to one
|
| 12923 |
stamped `R.P.' and attributed to Richard
|
| 12924 |
Price (a joiner documentcd as making caned
|
| 12925 |
twisted walnut chairs for the royal palaces
|
| 12926 |
c.1676-83) which is at Temple Ncwsam (C.
|
| 12927 |
aiNbert. Furniture at Temple Navsam House
|
| 12928 |
and IAitherton Hall (heeds, \978), i, no. 53),
|
| 12929 |
but the carving of no. 10 is less elaborate-without
|
| 12930 |
paw feet on the front legs, crowned
|
| 12931 |
finials to the posts or piercing in the scroll-work,
|
| 12932 |
for instance.
|
| 12933 |
I I . Armchair of ebohized walnut with a
|
| 12934 |
cancd seat and back panel, arms and front
|
| 12935 |
legs of scroued form, posts, arm supports,
|
| 12936 |
and stretchers of complex tuned baluster
|
| 12937 |
form, and front rail, top rail, and the frame
|
| 12938 |
of the back panel in the fom of flattened
|
| 12939 |
scrolls (the scrolls of the rails centred with a
|
| 12940 |
crown). c.1685. No provenance recorded.
|
| 12941 |
The chair is very simnar to a pair of chairs at
|
| 12942 |
Temple Newsan, one of which is stamped
|
| 12943 |
R 8. and attributed to RIchard Bealing, a
|
| 12944 |
supplier of walnut furniture to King William
|
| 12945 |
Ill (op. cit. under no. 10, i, no. 54; cf. also
|
| 12946 |
G. Wills, E"g/;ch F„roG.f#re 1550-1760
|
| 12947 |
(Ijondon,1971), 85, plate 68).
|
| 12948 |
12. Chest of drawers on a stand with short
|
| 12949 |
single-bind spiral legs and flat cross-scrolled
|
| 12950 |
stretchers, above bun feet; the mouldings and
|
| 12951 |
legs of walnut, the upper surface ornamented
|
| 12952 |
with a bold design of tulips and daffodils in
|
| 12953 |
marquetry of walnut, box, and stained bone
|
| 12954 |
on a field of ebony, fromed with walnut cross-banding,
|
| 12955 |
the drawer faces ornamented with
|
| 12956 |
oyster veneer of olive-wood for the most part
|
| 12957 |
(but another wood is employed on the central
|
| 12958 |
drawer). Ijatc scventccnth century. Elizabeth
|
| 12959 |
Malictt Sft, i96i.
|
| 12960 |
13. Display cabinet of figured walnut veneer
|
| 12961 |
over an oak carcass, on a stand of walnut; the
|
| 12962 |
cabinet with glazed doors each with four
|
| 12963 |
bevcllcd panes and a drawer in the pulvinated
|
| 12964 |
ffiezc above; the stand with one drawer on
|
| 12965 |
six single-bind spira.I legs with a flat scroucd
|
| 12966 |
cross-stretcher above bun feet. Late
|
| 12967 |
seventeenth century. Elizabeth Mallett dft,
|
| 12968 |
1961.
|
| 12969 |
14. Cabinet and chest of drawers of walnut,
|
| 12970 |
the doors of the upper case opening to reveal
|
| 12971 |
small drawers around a central cupboard, the
|
| 12972 |
lower case with two short and two long
|
| 12973 |
drawers; all visible surfaces vcncered: figured
|
| 12974 |
root walnut serving for mouldings and
|
| 12975 |
cornice and used in quarter-veneer patterns
|
| 12976 |
on all sides, burr walnut employed on the
|
| 12977 |
front doors froming panels of seaweed
|
| 12978 |
marquetry of a minute pattern of box on a
|
| 12979 |
walnut ground, the fficze of overlapping
|
| 12980 |
leaves of box, sand-scorched. c.1700.
|
| 12981 |
Elizabeth Mallett aft,1961.
|
| 12982 |
15. Centre table of walnut with seaweed
|
| 12983 |
marquetry on scrolled legs headed with
|
| 12984 |
@@PROCESS
|
| 12985 |
252
|
| 12986 |
female heads supporting cushions. c.1700.
|
| 12987 |
Cat. No. 602.
|
| 12988 |
16. Rectangular chest of drawers, consisting
|
| 12989 |
of two small, above three long, drawers, the
|
| 12990 |
drawer faces of ash framed in cross-bending
|
| 12991 |
also of ash, with panels of `seaweed'
|
| 12992 |
marquetry of walnut on a ground of box, the
|
| 12993 |
upper surface of the chest inlaid with a
|
| 12994 |
geometrical pattern of walnut, satinwood, and
|
| 12995 |
mal`ogany. c.1700, parts probably later. No
|
| 12996 |
provenance recorded.
|
| 12997 |
17. High-back armchair of walnut with
|
| 12998 |
upholstered scat and splat ( both origivally
|
| 12999 |
cancd); cresting and splat franc carved with
|
| 13000 |
scrolls a.nd foliate ornament; posts of complex
|
| 13001 |
balustcr fomi headed with blocks carved with
|
| 13002 |
leaves; scrolling legs and arms ribbed and
|
| 13003 |
carved with ancanthus; the cross-stretchers of
|
| 13004 |
s-form with breaks centring on a finial. Early
|
| 13005 |
eighteenth century (or imitation of that
|
| 13006 |
period). No provenance recorded.
|
| 13007 |
18. Card table with a folding top and
|
| 13008 |
concertina action, the top rectangular but
|
| 13009 |
with curved comers, on straight turned legs
|
| 13010 |
headed with lappets and ending in club feet;
|
| 13011 |
the legs of solid laburnum, the closed top
|
| 13012 |
quarter-veneered in laburnum in a radial
|
| 13013 |
pattern with box and ebony stringivg, each
|
| 13014 |
rail veneered with laburnum, bookmatched,
|
| 13015 |
• the open top covered with green cloth but
|
| 13016 |
with the four candle circles veneered with
|
| 13017 |
laburnum and the four counter wells veneered
|
| 13018 |
with mahogany c.1720-5. Lady Henriques
|
| 13019 |
Bequest 1953 (listed as `Tiger-wood folding
|
| 13020 |
card tablet). A very similar card table is at
|
| 13021 |
Temple Newsam House, the chief difference
|
| 13022 |
being that it has legs of walnut (Gilbert, op.
|
| 13023 |
cit. under no. 10, i, no. 383). Another wa.s
|
| 13024 |
lot 73 at Christie's, I,ondon, 19 April 1990.
|
| 13025 |
19, Card table with a folding top and
|
| 13026 |
concertina action; the top of serpentine form
|
| 13027 |
with a small drawer above a small scrollcd
|
| 13028 |
apron, on cabriole legs, headed with shields,
|
| 13029 |
ending in club feet. The legs are of solid
|
| 13030 |
walnut, the rats of walnut veneer, the closed
|
| 13031 |
top of walnut quarter-veneered and framed
|
| 13032 |
with cross-banding, the open top covered
|
| 13033 |
with Pcf!.f Po;„f decorated with flowers, cards,
|
| 13034 |
and money, with candle circles veneered in
|
| 13035 |
walnut. c.1720-5. Given by Mrs W. R. F.
|
| 13036 |
Weldon, June 1935.
|
| 13037 |
20. High-back armchair with rectangular
|
| 13038 |
upholstered back and seat, and arm pads on
|
| 13039 |
the straight arms, downswept mahogany am
|
| 13040 |
supports, cabriole legs of mahogany with
|
| 13041 |
foliage carved at the knee, and claw and ball
|
| 13042 |
feet. Second quarter of the eighteenth
|
| 13043 |
century. No provenance recorded.
|
| 13044 |
21. Wall bracket of stepped form with a
|
| 13045 |
rectangular top, lacquered in gold and brown
|
| 13046 |
with a pattern of fanciful birds and diaper
|
| 13047 |
work, and heavily varnished. Second quarter
|
| 13048 |
of the eighteenth century. No provenance
|
| 13049 |
recorded. The bracket is at present employed
|
| 13050 |
to support the Cox Clock (Cat. No. 465).
|
| 13051 |
The top is an addition.
|
| 13052 |
22-23. Pair of massive armchairs of beech,
|
| 13053 |
Slded, with rectangular upholstered seats
|
| 13054 |
and backs and straight upholstered arms, the
|
| 13055 |
downswept arm supports and scroll front legs
|
| 13056 |
both carved with acanthus and linked rings
|
| 13057 |
on the chief face and with hatched scales on
|
| 13058 |
the side faces. Presumably designed by
|
| 13059 |
Wlilliam Kent for Hollcham Hall, Norfolk,
|
| 13060 |
seat of Thomas Coke, first earl of Leicester.
|
| 13061 |
Kent began to make designs for Holkhan in
|
| 13062 |
about 1730 and these chairs could have been
|
| 13063 |
made then but were more probably made
|
| 13064 |
later (the central block of the house not being
|
| 13065 |
complete until after 1750), very likely by
|
| 13066 |
Benjamin Goodison, the cabinet maker chiefly
|
| 13067 |
employed for the furnishing of Hollcham
|
| 13068 |
during the 1740s. By descnt in the Coke
|
| 13069 |
Family (having been removed from Holkham
|
| 13070 |
to Longford, Derbyshire) to Gerald Coke by
|
| 13071 |
whom presented in 1978 though the friends
|
| 13072 |
of the Ashmolean Museum. Similar chairs,
|
| 13073 |
but of mahogany, parcel gilt, remain at
|
| 13074 |
Holkham. A dctaled report on the traces of
|
| 13075 |
the original upholstery compiled by Heather
|
| 13076 |
Gilbey of the Victoria and Albcrt Museum in
|
| 13077 |
October 1978 is in the Department's
|
| 13078 |
archives. The green silk covering and brass
|
| 13079 |
nails date from the year of acquisition.
|
| 13080 |
24. Narrow dining-room side table of
|
| 13081 |
mohagany with a Vitruvian scroll frieze on
|
| 13082 |
the rails, on straight square legs. In the style
|
| 13083 |
of william Kent. c.1740. No provenance
|
| 13084 |
recorded. The legs have been lengthened. The
|
| 13085 |
long undecorated rail looks as if it orignally
|
| 13086 |
had attachments-probably posts to support
|
| 13087 |
a display gallery.
|
| 13088 |
25. Display cabinet in the form of a
|
| 13089 |
rectangular vitrine with a frame and stand of
|
| 13090 |
edlt pine combined with brown and ctlded
|
| 13091 |
lacquer, the cornice of beech, water-Blt,
|
| 13092 |
carved with acanthus, the cabriole legs, also
|
| 13093 |
of bccch, water-gilt, headed with acanthus
|
| 13094 |
and on pad feet, one drawer in the stand.
|
| 13095 |
Mostly Edwardian, but incorporating mid-eighteenth
|
| 13096 |
century fragments. J. F. Mallett
|
| 13097 |
Bequest, 1947.
|
| 13098 |
26-31. Set of six hall chairs of mahogany
|
| 13099 |
with saddle scats, each chair-back of a single
|
| 13100 |
piece of mahogany fanning out to a waved
|
| 13101 |
crest and pierced in a curling radial pattern,
|
| 13102 |
with ribs in each solid clement and the centre
|
| 13103 |
of the back a solid field of waved shape
|
| 13104 |
painted with the arms of Henry Rolle ( 1707-
|
| 13105 |
50), created Baron Rolle in 1747. The
|
| 13106 |
scrolled front legs have feet curled inwards in
|
| 13107 |
a line continuous with the pic[ced and
|
| 13108 |
scrolled front rail. Mid-eighteenth century.
|
| 13109 |
Presented in 1954 by the first earl of Halifax
|
| 13110 |
APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM
|
| 13111 |
KG, OM, Chancellor of the University 1933-
|
| 13112 |
59. The painfully crippled but sophisticated
|
| 13113 |
design is related to one published in R
|
| 13114 |
MaLr\warirSs Cabinet and Chairmaker's
|
| 13115 |
Real Friend and Companion (-hondon.
|
| 13116 |
1765).
|
| 13117 |
32. Tea table of mahogany, the square top
|
| 13118 |
with a spindle gallery and a pierced foliate
|
| 13119 |
fringe beneath the rail, on four legs, each a
|
| 13120 |
cluster of three slender straight turned shafts
|
| 13121 |
connected with block headings, block feet,
|
| 13122 |
and blocks for the thin chamfered cross-stretchers
|
| 13123 |
c.1760. A aft from the estate of
|
| 13124 |
Walter and Anne Stoye, 14 August 1978.
|
| 13125 |
Elements of this table are stylistically akin to
|
| 13126 |
those in both the Chinese and Gothic taste.
|
| 13127 |
33. Cheval firescreen of mahogany, with a
|
| 13128 |
panel of Soho tapestry (showing a vase of
|
| 13129 |
flowers, a spaniel, and a parrot) on one side
|
| 13130 |
and on the other a panel of needlework
|
| 13131 |
(showing a basket of flowers), the posts
|
| 13132 |
formed as octagonal Doric columns
|
| 13133 |
superimposed on turned Corinthian ones,
|
| 13134 |
supported by pairs of scroll legs. c.1760.
|
| 13135 |
Elizabeth Mallett Sft,1961.
|
| 13136 |
34. Bureau of rectangular form, the sloping
|
| 13137 |
drop front concealing eight large and eight
|
| 13138 |
small stepped drawers, the body beneath of
|
| 13139 |
four drawers (and no dummies) on straight
|
| 13140 |
and tapering legs with concave collars, the
|
| 13141 |
carcass of oak veneered in parquetry of burr
|
| 13142 |
elm and figured walnut. c.1770. Provenance
|
| 13143 |
unrecorded.
|
| 13144 |
35-36. Pair of console tables each with D-shaped
|
| 13145 |
top of satinwood veneer bordered
|
| 13146 |
with walnut cross-banding, supported by
|
| 13147 |
three scrolled legs of pine painted green and
|
| 13148 |
parcel gilt, carved with husks and acanthus,
|
| 13149 |
headed with blocks carved with lion heads in
|
| 13150 |
an Egyptian style, springivg from a shaped
|
| 13151 |
plihith with carved paterae on its projections
|
| 13152 |
and fluting in its concavities. c.1770. I.ady
|
| 13153 |
Henriques Bequest, in 1953 (`palr of pier
|
| 13154 |
glass console tables'). The tops may not be
|
| 13155 |
original.
|
| 13156 |
37-38. Pair of pedestals (candlestands) of
|
| 13157 |
satinwood veneer, with brass beading and
|
| 13158 |
thin ebony mouldings, the block above the
|
| 13159 |
tapering pier concave on each face, the
|
| 13160 |
tapering pier swept out at its foot to meet a
|
| 13161 |
rectangular plinth. c.1775. Bought in 1933.
|
| 13162 |
39. Boudoir table veneered with satinwood
|
| 13163 |
and walnut, with a galleried ledge on the
|
| 13164 |
serpentine top, a single drawer above a
|
| 13165 |
curving apron, and thin cabriole legs joined
|
| 13166 |
by a low shelf, the top concealing a mirror
|
| 13167 |
raised on a hinged flap. The top is decorated
|
| 13168 |
with a trophy of musical instruments, palm
|
| 13169 |
branch, bays, and shells in marquetry, the
|
| 13170 |
draw front decorated with parquctry, the legs
|
| 13171 |
decorated with marquetry ( now indistinct) of
|
| 13172 |
husks and scrolls. I.ate eighteenth century.
|
I.ady Henriques Bequest, 1953 (`Writing-cum-
|
| 13174 |
dressing table' ).
|
| 13175 |
40. Medal cabinet of rectangular form with
|
| 13176 |
massive brass carrying handles of loop form
|
| 13177 |
on each side, decorated with marquetry of
|
| 13178 |
sycamore, box, and varieties of walnut, a
|
| 13179 |
loosely garlanded urn represented on each
|
| 13180 |
door in an oval field framed with a chequer
|
| 13181 |
pattern band. The cabinet rests on a plain
|
| 13182 |
modern mahogany stand. Made for Dr
|
| 13183 |
Charles Combe ( 1743-1807). c.1775.
|
| 13184 |
Transferred from the Bodleian Library in
|
| 13185 |
1920. (Heberden Coin Room.)
|
| 13186 |
41. Hanging rectangular cupboard of
|
| 13187 |
mahogany containing an ivory crucifix within
|
| 13188 |
a gilt frame. Ijatc cightecnth century. Cat.
|
| 13189 |
No. 336 (for the ivory).
|
| 13190 |
42. Harlequin writing table, dressing table,
|
| 13191 |
and cupboard of rectangular form with
|
| 13192 |
tambour cupboard doors in the concave knee
|
| 13193 |
hole, on straight tapering legs; the closed top
|
| 13194 |
is of satinwood veneer with a border of walnut
|
| 13195 |
cross-banding and ropetwist strinalng of
|
| 13196 |
satinwood and ebony the front of quilted
|
| 13197 |
satinwood veneer, the tambour doors of
|
| 13198 |
plane and walnut. Late eighteenth century.
|
| 13199 |
Bequeathed anonymously,1951. A similar
|
| 13200 |
piece now at Temple Newsam House was
|
| 13201 |
published (when on loan there) by C. Gilbert
|
| 13202 |
•in the Jounal Of the Furniture History Society,
|
| 13203 |
2 ( 1966), 40-2 (`A Shearer Harlequin Table
|
| 13204 |
and its Design'), and again, with crucial
|
| 13205 |
additions, in his catalogue (op. cit. under no.
|
| 13206 |
10, ii, no. 429). Another such Harlequin table
|
| 13207 |
is at Althoap and others have appeared in the
|
| 13208 |
sale rooms. The model certainly existed by
|
| 13209 |
1779 when it was illustrated in Thomas
|
| 13210 |
Mdrf yon. s Compleat Treatise on PerspectiT}e. A\
|
| 13211 |
drawing by London cabinet maker George
|
| 13212 |
Specr may represent the original design. Two
|
| 13213 |
designs also appeared in 777c C¢4;„ct M¢4Gr'j
|
| 13214 |
lo"do" Boo4 a/Pr}.ccf, first published I.ondon,
|
| 13215 |
1788, one of which is signed by Thomas
|
| 13216 |
Shearer.
|
| 13217 |
43. Harlequin dressing table and cupboard
|
| 13218 |
of mahogany veneer with stringivg of ebony
|
| 13219 |
and box, with one real and one dummy door,
|
| 13220 |
on straight tapering legs. I.ate eighteenth
|
| 13221 |
century. I.ady Henriques Bequest, 1953
|
| 13222 |
(`opening dressing table' ).
|
| 13223 |
44. Settee of beech with a cared seat, the
|
| 13224 |
back and ams in the form of a Gothic arcade,
|
| 13225 |
on straight, turned, tapering legs, the frame
|
| 13226 |
lacquered black with a band of yellow,
|
| 13227 |
running foliage painted in green on the top
|
| 13228 |
rail, a yellow guilloche pattern painted on the
|
| 13229 |
seat rail. Perhaps Henriqucs Bequest, 1953
|
| 13230 |
(it corresponds exactly with no item in any
|
| 13231 |
list).
|
| 13232 |
45. Oval card table with folding top, on
|
| 13233 |
straight tapering legs with block feet, the
|
| 13234 |
closed D-shaped top of satinwood veneer with
|
| 13235 |
a border of pale walnut cross-bending,
|
| 13236 |
another parallel band of cross-banding in the
|
| 13237 |
centre, stringing and marquetry of paterac
|
| 13238 |
and of flowers and husks in fine scgmental
|
| 13239 |
swags, of box and sycamore with some
|
| 13240 |
penwork and green staining, the open top
|
| 13241 |
covered with blue felt, the legs headed with
|
| 13242 |
triglyphs in marquetry, the rall's frieze also
|
| 13243 |
decorated with oval patcrac. I.ate eighteenth
|
| 13244 |
century. Lady Hcnriques Bequest, 1953.
|
| 13245 |
46. large oval card table with folding top,
|
| 13246 |
on straight fluted tapering legs with reeded
|
| 13247 |
necks, the closed D-shaped top of figured
|
| 13248 |
satinwood vcnecr with a border of tulipwood
|
| 13249 |
crbss-banding and a parallel border of the
|
| 13250 |
same defining a central D-shaped zone
|
| 13251 |
decorated with floral marquetry of sycamore
|
| 13252 |
and some penwork against a ground of yellow
|
| 13253 |
vanish, the open top covered with green
|
| 13254 |
baize, the rail of satinwood veneer, the block
|
| 13255 |
heading each leg decorated with floral
|
| 13256 |
marquetry in an oval field, the legs of
|
| 13257 |
satinwood. Irdte eighteenth century. Iady
|
| 13258 |
Henriques Bequest, 1953 (`Large oval
|
| 13259 |
folding table' ) .
|
| 13260 |
4748. Pair of comer cupboards of
|
| 13261 |
mahogany, the upper stages with four shelves
|
| 13262 |
and glazed doors with crossing bars. I.ate
|
| 13263 |
eighteenth century. I.ady Henriques
|
| 13264 |
Bequest, 1953.
|
| 13265 |
49. Ijarge breakfront bookcase and bureau
|
| 13266 |
of mahogany with a flutcd ffieze intcrruptcd
|
| 13267 |
by rosettes below a comicc of miniature
|
| 13268 |
`Gothic' spandrel arches, the upper stage with
|
| 13269 |
adjustable shelves and six glazed doors with
|
| 13270 |
crossing bars, the lower stage on the sides
|
| 13271 |
with panelled doors containing cupboards
|
| 13272 |
above drawers in the plinth, and in the centre
|
| 13273 |
with a pair of cupboard doors with oval panels
|
| 13274 |
beneath a large drawer which opens to reveal
|
| 13275 |
pigeon holes and drawers, its front dropping
|
| 13276 |
to form a writing surface. The glazed doors
|
| 13277 |
and the cupboard doors are framed with
|
| 13278 |
mahogany cross-banding in a radial pattcm,
|
| 13279 |
the panels in the cupboards are of curl veneer
|
| 13280 |
symmetrically disposed, all this veneer being
|
| 13281 |
of fine Cuban mahogany. IAte eighteenth
|
| 13282 |
century. I.ady Henriques Bequest, 1953
|
| 13283 |
(`Bureau bookcasc' in one list, `Mahogany
|
| 13284 |
breakfront case' in another, apparently
|
| 13285 |
originally allocated to the `Museun of
|
| 13286 |
OrientalArt').
|
| 13287 |
50. Work table with a concealed cabinet of
|
| 13288 |
drawers on a spring mechanism, the top with
|
| 13289 |
concave sides, the projecting corners
|
| 13290 |
chamfercd, incorporating a rectangular tray
|
| 13291 |
which lifts when the rectangular cabinet
|
| 13292 |
springs up, on straight tapering legs with
|
| 13293 |
casters. The top is quarter-veneered in
|
| 13294 |
coromandel in a radial pattern around the
|
| 13295 |
tray which is decorated with marquetry
|
| 13296 |
representing two books (of wenge and
|
| 13297 |
@@PROCESS
|
253
|
| 13299 |
|
| 13300 |
APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM
|
| 13301 |
sycamore) against an oval field (of satinwood),
|
| 13302 |
contained by spandrels (of burr walnut), the
|
| 13303 |
concealed spring veneered with mahogany
|
| 13304 |
with tulipwood cross-banding. Late
|
| 13305 |
eighteenth or early nineteenth century. I.ady
|
| 13306 |
Henriques Bequest, 1953 (`Table inlaid with
|
| 13307 |
twovolumes').
|
| 13308 |
51-57. Suite of a settee, four side chairs, and
|
| 13309 |
two armchairs of pale wood (not beech but
|
| 13310 |
possibly satin walnut) with caned splats and
|
| 13311 |
seats, each rectangular splat connected with
|
| 13312 |
the rails above and below by circles, the back
|
| 13313 |
frames themselves rectangular, the seats
|
| 13314 |
rounded in front, fine tuned baluster arm
|
| 13315 |
supports, tuned tapering front legs with
|
| 13316 |
cross-stretchers. The wood is decorated with
|
| 13317 |
painted dark brown lines in imitation of inlay
|
| 13318 |
stringing. I,ate eighteenth or early nineteenth
|
| 13319 |
century. Lady Henriques Bequest, 1953 (in
|
| 13320 |
one list said to be of rosewood, in another
|
list described as including six side chairs-
|
| 13322 |
perhaps because the pair of chairs histed below
|
| 13323 |
was carelessly associated with the suite).
|
| 13324 |
58-59. Pair of armchairs of pale wood (not
|
| 13325 |
beech but possibly satin walnut) with two
|
| 13326 |
cared rails across the rectangular back and
|
| 13327 |
with rectangular caned seats, downswept
|
| 13328 |
arms, straight front tapering legs. The wood
|
| 13329 |
is decorated with blue painted lines in
|
| 13330 |
imitation of inlay stringing. Irate eighteenth
|
| 13331 |
or early nineteenth century. I.ady Henriques
|
| 13332 |
Bequest,1953 ( satinwood and canework
|
| 13333 |
armchairs' in one list, in another list possibly
|
| 13334 |
incorporated in the suite described above).
|
| 13335 |
60ndl. Pair of armchairs of beech with
|
| 13336 |
rectangular caned backs and seats,
|
| 13337 |
downswept amis, and splayed turned front
|
| 13338 |
legs, the frame painted black and decorated
|
| 13339 |
with coloured flowers. Early nineteenth
|
| 13340 |
century. I,ady Henriques Bequest, 1953
|
| 13341 |
(presumably the `palr of painted armchairs'
|
| 13342 |
mentioned in one list).
|
| 13343 |
62-64. Set of three side chairs of beech with
|
| 13344 |
rectangular caned seats, with pierced cross
|
| 13345 |
rails on the backs, on splayed tuned front
|
| 13346 |
legs, the frame lacquered in initation of
|
| 13347 |
rosewood (now mostly blackened) with a
|
| 13348 |
floral pattern in gold. Early nineteenth
|
| 13349 |
century. Perhaps I,ady Henriques Bequest,
|
| 13350 |
1953 (possibly the `pair [fz.c] of amchalrs
|
| 13351 |
[J¢.c] lacquered in the Chinese manner', unless
|
| 13352 |
this is taken to refer to the pair described
|
| 13353 |
above.- possibility increased by the fact that
|
| 13354 |
the description docs not appear on the same
|
| 13355 |
list as the `pair of painted armchairs').
|
| 13356 |
65. Partner's writing table of rectangular
|
| 13357 |
fom on four straight tapering legs with one
|
| 13358 |
large central drawer flanked by two shorter
|
| 13359 |
drawers on each long side stepped to
|
| 13360 |
accommmodatc knees. The top covered with
|
| 13361 |
green baize, other surfaces veneered with
|
| 13362 |
mahogany, each drawer face framed with
|
| 13363 |
@@PROCESS
|
| 13364 |
254
|
| 13365 |
coromandcl cross-banding and box stringing.
|
| 13366 |
Oridnal brass loop handles. I,ady Henriques
|
| 13367 |
Bequest, 1953.
|
| 13368 |
66nd7. Pair of hall tables with frames and
|
| 13369 |
console-shaped supporters of mahogany with
|
| 13370 |
green porphyry tops. Designed by Thomas
|
| 13371 |
Hope, c.1805. Cat. Nos. 522-3.
|
| 13372 |
68-71. Set of four low chairs of figured ash
|
| 13373 |
with deeply curved top rails, scrolled, bowed,
|
| 13374 |
and pierced lyre-shaped splats, downswept
|
| 13375 |
posts, drop-in upholstered seats, and sabre
|
| 13376 |
legs. The legs, top rails, and posts are of solid
|
| 13377 |
wood, the splats and seat rails veneered, the
|
| 13378 |
splats and top rails inlaid with mahogany in a
|
| 13379 |
pattern of geometric flower-heads,
|
| 13380 |
honeysuckle, and scrolling lines. Probably
|
| 13381 |
designed by Thomas Hope, c.1805. Bought
|
| 13382 |
at the Deepdene sales, 1917, Ijot 919
|
| 13383 |
(together with a rosewood fircscreen ).
|
| 13384 |
72. Sofa table of mahogany with two flaps, a
|
| 13385 |
drawer at each end, on a single bulbous
|
| 13386 |
baluster rising from a plinth with four
|
| 13387 |
downswept legs with ribbed upper surfaces
|
| 13388 |
terminating in brass foliate feet with casters.
|
| 13389 |
Early nineteenth century. Lady Henriques
|
| 13390 |
Bequest, 1953 (`Mahogany pedestal table
|
| 13391 |
with side drops').
|
| 13392 |
73. Massive sideboard with a gallery on two
|
| 13393 |
pairs of cabriole legs with paw feet, of
|
| 13394 |
mahogany--with mahogany venccr (on the
|
| 13395 |
upper surface ) and some ebonized mahogany
|
| 13396 |
mouldings ornamented with ormolu wreaths.
|
| 13397 |
c.1810. One of a pair from Gloucester
|
| 13398 |
House, Park Lane (residence of the duke of
|
| 13399 |
Cambridge). I,ady Henriques Bequest, 1953.
|
| 13400 |
74-75. Pair of hall tables consisting of
|
| 13401 |
console-shaped supports of walnut with
|
| 13402 |
rosewood veneer supporting slabs of Anglesey
|
| 13403 |
porphyry. c.1820-30. Cat. Nos. 612-13.
|
| 13404 |
76. Tripod table with coromandcl veneer and
|
| 13405 |
Slt metal mounts supporting a circular
|
| 13406 |
specimen marble table top from the workshop
|
| 13407 |
of Michelangelo Barberi. c.1855. Cat. No.
|
| 13408 |
10 (for the table top).
|
| 13409 |
77. Rectangular wardrobe of deal entirely
|
| 13410 |
painted on the exterior; two doors, that to
|
| 13411 |
proper right of two leaves, hinged; the other
|
| 13412 |
door of one leaf; a notched cornice; the doors
|
| 13413 |
fromed with engaged angular shafts on heavy
|
| 13414 |
moulded feet formed as inverted Gothic
|
| 13415 |
corbels. The doors are painted by Edward
|
| 13416 |
Bume-Jones ( 1833-98) with scenes from
|
| 13417 |
`The Priorcss's Tale' by Chaucer
|
| 13418 |
incorporating repeated portraits of Jane
|
| 13419 |
Burden (later Mrs Morris) as the Virgin Mary
|
| 13420 |
and her angelic escort and a dedication by
|
| 13421 |
the artist to William Morris. The interiors of
|
| 13422 |
the doors are decorated with unfinished
|
| 13423 |
figure paintings and decorative patterns by
|
| 13424 |
Morris himself. Bequeathed in 1939 by Miss
|
| 13425 |
May Morris, but first placed on loan by Jane
|
| 13426 |
Morris in 1901 (it had previously been on
|
| 13427 |
loan to the South I.ondon Art Gallery,
|
| 13428 |
Camberwell Road). Mrs Morris declared it
|
| 13429 |
to be her intention to bequeath the wardrobe
|
| 13430 |
to the Ashmolean in a letter of 2 March 1901 :
|
| 13431 |
she also claimed that it had been presented to
|
| 13432 |
her husband and herself `on the occasion of
|
| 13433 |
our marriage'. This has been repeated ever
|
| 13434 |
since and it has also been claimed that the
|
| 13435 |
piece was designed by Philip Webb for the
|
| 13436 |
couple's first marital home, The Red House.
|
| 13437 |
But the wardrobe is inscribed to Morris only,
|
| 13438 |
it is also of poor material, evidently
|
| 13439 |
improvised in construction, which is
|
| 13440 |
impossible in a work designed by Webb, and
|
| 13441 |
it is more likely to be of an earlier date and
|
| 13442 |
one of the pieces of furniture made by Morris
|
| 13443 |
and Bume-Jones for their rooms in Red Lion
|
| 13444 |
Square in 1857.
|
| 13445 |
78. Bookcase of oak, carved and gilt and
|
| 13446 |
painted, of architectural character with gabled
|
| 13447 |
roofs and a colummar gallery, designed by
|
| 13448 |
William Burges (1827-81) and made for his
|
| 13449 |
rooms in Buckingham Street, I.ondon,
|
| 13450 |
between 1856 and 1862. It was exhibited in
|
| 13451 |
the Medieval Court of the International
|
| 13452 |
Exhibition in the latter year, but was damaged
|
| 13453 |
and altered in 1878. `The largest piece of
|
| 13454 |
Burges's furniture and unrivalled for the
|
| 13455 |
richness and profusion of its decoration'
|
| 13456 |
(-Mary Airon in The Strange Genius Of
|
| 13457 |
Wj%¢eeB„7g:gGf(NationalMuseumofwales,
|
| 13458 |
Cardiff,1981), no.136, p. 75). The paintings
|
| 13459 |
are all of subjects connected with art, taken
|
| 13460 |
from both Christian and pagan legends, and
|
| 13461 |
are by E. S. Poynter, N. H. S. Westlake, E.
|
| 13462 |
Burne-Jones, Simeon Soloman, C. Rossiter,
|
| 13463 |
Thomas Rossitcr, Thomas Morten, Albert
|
| 13464 |
Moore, Frederick Small field, W. F. Yeames,
|
| 13465 |
W. Weekes, S. A. Fitzgerald, and H. Stacy
|
| 13466 |
Markes. Purchased in 1933 by Kenneth Clark
|
| 13467 |
(who acknowledged in the A»7?"¢/ Rcporf
|
| 13468 |
that it was `not acceptable to present day
|
| 13469 |
taste'). Placed on loan at Knightshayes.
|
| 13470 |
Devon (the National Trust), in 1954.
|
| 13471 |
79. Cabinet for framed drawings, of
|
| 13472 |
mahogany in two stages crowned by a plain
|
| 13473 |
pediment, the doors of the upper stage of
|
| 13474 |
glass, smaller glass doors in the lower stage,
|
| 13475 |
a shelf between the two stages (the lower
|
| 13476 |
being deeper). Designed by John Ruskin for
|
| 13477 |
the collection he gave to the University in the
|
| 13478 |
l880s. The Department of Antiquities also
|
| 13479 |
retains the similarly plain mahogany cabinets
|
| 13480 |
given to Ruskin by his parents when he was
|
| 13481 |
an undergraduate to house his collections of
|
| 13482 |
eggs and minerals-these are now employed
|
| 13483 |
for Near Eastern seals and Graeco-Roman
|
| 13484 |
seals.
|
| 13485 |
80-81. Pair of rectangular display cases
|
| 13486 |
framed in walnut on elaborate stands of
|
| 13487 |
carved walnut; each stand with a frieze of
|
| 13488 |
scrolls and flowers centring in a boy's head
|
| 13489 |
APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM
|
| 13490 |
in a glory; the cabriole legs carved with
|
| 13491 |
drapery, husks, horizontal fluting, and
|
| 13492 |
acanthus, headed with boys' busts, on claw
|
| 13493 |
and ball feet which are connected with
|
| 13494 |
scrolling stretchers carved with acanthus and
|
| 13495 |
fluting centring on a vase. Early nineteenth
|
| 13496 |
century, inspired by French seventeenth
|
| 13497 |
century models. J. F. Mallett Bequest, 1947.
|
| 13498 |
82. A rectangular table display case, the
|
| 13499 |
glazed top framed in moulded brass, the
|
| 13500 |
frieze of cross-banded walnut with ebony
|
| 13501 |
stringing and a border of pale walnut, on
|
| 13502 |
square straight tapering legs with cross-stretchers
|
| 13503 |
of bow form, also of a pale walnut.
|
| 13504 |
Early nineteenth century.
|
| 13505 |
83. A rectangular upright display case of
|
| 13506 |
figured walnut; the principal case rising above
|
| 13507 |
another of sloped desk-form; supported on
|
| 13508 |
seven octagonal tapering legs carved with
|
| 13509 |
Ionic capitals, reeded necking, and acanthus
|
| 13510 |
leaves united with a flat scrolled stretcher
|
| 13511 |
below which are bun feet; three of the legs
|
| 13512 |
are at either end and at the centre of the front
|
| 13513 |
of the cabinet, two at either end of the back,
|
| 13514 |
and two at intermediary points between the
|
| 13515 |
first centre leg and the two back legs. Early
|
| 13516 |
nineteenth century. J. F. Mallett Bequest,
|
| 13517 |
1947.
|
| 13518 |
84. A rectangular display case of brass, of
|
| 13519 |
three divisions, with five doors, made by the
|
| 13520 |
firm of Mantelet, supported by a wooden base
|
| 13521 |
with low cupboards, the three doors of which
|
| 13522 |
arc of modern Chinese cut lacquer with
|
| 13523 |
figures against a black background. Early
|
| 13524 |
nineteenth century. J. F. Mallett Bequest,
|
| 13525 |
1947. Mallett also possessed two other
|
| 13526 |
similar but smaller cabinets, according to the
|
| 13527 |
inventory of his collection.
|
| 13528 |
85. A rectangular upright display case of
|
| 13529 |
mahogany, on eight square tapering legs
|
| 13530 |
connected with a flat-shaped stretcher; the
|
| 13531 |
pilaster strips framing the case, the frieze, and
|
| 13532 |
the legs with herringbone cross-banded
|
| 13533 |
veneer in recessed panels; the central front
|
| 13534 |
leg and the centre of the frieze of a different,
|
| 13535 |
darker, wood (probably rosewood); ormolu
|
| 13536 |
foliate feet and foliate collars on each of the
|
| 13537 |
front four legs and ormolu rectangularly
|
| 13538 |
framed rosettes on their heading blocks.
|
| 13539 |
Gaspard Oliver Farrer Bequest, 1946. The
|
| 13540 |
splendid art bronze foliate handle of the key
|
| 13541 |
to this case is, perhaps, original seventeenth
|
| 13542 |
century work.
|
| 13543 |
86-87. Pair of columnar pedestals carved
|
| 13544 |
with cherubim and large scrolls and acanthus.
|
| 13545 |
Probably early twentieth century but in a
|
| 13546 |
Renaissance style. Provenance unrecorded.
|
| 13547 |
88. A rectangular upright bookcase; with two
|
| 13548 |
glazed doors and inverted Gothic corbel feet;
|
| 13549 |
the mouldings, glazing bars, and massive
|
| 13550 |
shaped feet of solid rosewood; the walls all
|
| 13551 |
of dark oak; the adjustable shelves of oak; the
|
| 13552 |
displayed hinges and the handles of stamped
|
| 13553 |
brass, gilded. A copy of a bookcase made by
|
| 13554 |
Ernest Gimson in 1913, which is now in the
|
| 13555 |
Holboum of Menstrie Museum, Bath,
|
| 13556 |
commissioned for his private use by C. F.
|
| 13557 |
Bell, Keeper of the Department of Fine Art
|
| 13558 |
( 1908-31 ), from Peter Waals ( 1870-1937)
|
| 13559 |
and completed for him in 1926. Bought in
|
| 13560 |
1972 from the collection of Charles and
|
| 13561 |
Iravinia Handley-Read.
|
| 13562 |
89. Table of Brazihian mahogany made to
|
| 13563 |
support a brass-framed glass vitrine (made by
|
| 13564 |
Messrs Sage) with fretted spandrels and
|
| 13565 |
straight legs on blocked feet. The recesscd
|
| 13566 |
panels of ffieze and legs are veneered with
|
| 13567 |
quilted macaree framed with ebonized
|
| 13568 |
mahogany beading, the ffieze in both long
|
| 13569 |
sides is centred on a marquetry representation
|
| 13570 |
of a glass bowl in sycamore and rosewood on
|
| 13571 |
an oval field of quilted macaree. Made in
|
| 13572 |
1989 by Ray Ansty of the Museum workshop;
|
| 13573 |
commissioned in 1988 by Christopher
|
| 13574 |
Shephard for the Museum's collection of
|
| 13575 |
Venetian glass.
|
| 13576 |
90. A pair to No. 89 made by Mr Ansty in
|
| 13577 |
1991.
|
| 13578 |
91. A Rectangular tabletop of satinwood
|
| 13579 |
with rounded comers, decorated with pen
|
| 13580 |
and brush in indian ink under hard varnish
|
| 13581 |
with a central panel of the three Graces within
|
| 13582 |
six omanental bands of dense foliage.
|
| 13583 |
Colonial or provincial work. Presented by Mr
|
| 13584 |
K. D. Gloag and Miss Gloag from the estate
|
| 13585 |
of Mrs Gloag of 8, Northmoor Road,
|
| 13586 |
Oxford. Set on a mahogany baluster support
|
| 13587 |
with three downswept feet made by Ray
|
| 13588 |
Ansty in 1988.
|